Manual Sample Tank

M U S I C I A N S F I R S T
Plug-In
Sample Workstation
16 multitimbral parts
3 synthesis engine with STRETCH™
Full control over tempo, tune
and harmonics
Imports WAV, AIFF, SDII, AKAI®
and SAMPLECELL® files
User Manual
Plug-in Sample Workstation
User Manual
4
P LE A S E N OT E :
SAMPLETANK® IS A REGISTERED TRADEMARK OF IK MULTIMEDIA.

ALL OTHER PRODUCT NAMES AND TRADEMARKS ARE THE PROPERTY OF THEIR
RESPECTIVE OWNERS, WHICH ARE IN NO WAY ASSOCIATED OR AFFILIATED
WITH IK MULTIMEDIA. USE OF THESE NAMES DOES NOT IMPLY ANY CO-OPERA-
TION OR ENDORSEMENT.
5
6 I - Contents
I Contents pag. 6
II Interface pag. 10
III License and copyrights pag. 12
Chapter 1 SampleTank® pag. 14

1.1 Introduction pag. 15
1.2 What is SampleTank® 2 pag. 15
1.3 What’s new in SampleTank® 2 pag. 15
1.4 Features pag. 17
Chapter 2 Using SampleTank® pag. 19

2.1 Starting SampleTank® in Cubase™ pag. 19
2.2 Starting SampleTank® in Logic™ Audio pag. 19
2.3 Starting SampleTank® in ProTools® pag. 19
2.4 Starting SampleTank® in Digital performer pag. 20
2.5 Starting SampleTank® in Sonar® pag. 20
2.6 Loading and playing instruments pag. 21
2.7 Controlling instruments: the MIX window pag. 22
Chapter 3 Controlling SampleTank® pag. 23

3.1 OCTAVE transposition pag. 23
3.2 POLY/MONO/LEGATO pag. 23
3.3 MACRO controls section pag. 23
3.4 SYNTH-SAMPLER section pag. 23
3.5 EFFECTS section pag. 25
3.6 MINI keyboards pag. 26
3.7 ZONE controls pag. 26
3.8 LOOP SYNC pag. 27
3.9 MIDI CONTROL association pag. 28
3.10 PROGRAM CHANGE association pag. 29
3.11 Preferences pag. 29
3.12 Other controls pag. 31
Chapter 4 Organizing your instruments pag. 33

4.1 Keywords and User Keywords pag. 33
4.2 Search function pag. 33
4.3 Instruments location pag. 34
4.4 Managing sound organization pag. 35
Chapter 5 SampleTank® save function pag. 37

5.1 Save and work with Preset Instruments pag. 37
5.2 Save Module pag. 37
5.3 Back up function pag. 37
I - Contents 7
Chapter 6 Importing instruments in SampleTank® pag. 39
6.1 Import sounds in SampleTank® 2 pag. 39
6.2 Import samples and loops in WAV, AIFF and SDII pag. 39
6.4 Import AKAI® S1000-3000 pag. 42
6.5 Import SampleCell® pag. 44
Chapter 7 SYNTH-SAMPLER section pag. 47

7.1 Resampling controls pag. 47
7.2 Pitch-Shift/Time-Stretch controls pag. 47
7.3 STRETCH™ controls pag. 47
7.4 Filter controls pag. 49
7.5 Evelope 1 and 2 controls pag. 49
7.6 LFO 1 and 2 controls pag. 51
7.7 Velocity controls pag. 52
Chapter 8 SampleTank® multi-effects unit pag. 53

8.1 SampleTank® multi-effects unit pag. 53
8.2 Effect List pag. 53
Slot 1 pag. 53
EQ/Comp pag. 53
Slot 2-5 pag. 53
Reverberation and Delay pag. 53
Reverb pag. 53
Ambience pag. 53
Reverb Delay pag. 54
Spring Reverb pag. 54
Delay pag. 54
Filters pag. 54
Filter pag. 55
Envelope Filter pag. 55
Multi Filter pag. 55
Wah-Wah pag. 56
Modulations pag. 56
Chorus pag. 56
Multi Chorus pag. 56
Phaser pag. 56
AM Modulation pag. 56
FM Modulation pag. 56
Flanger pag. 57
Envelope Flanger pag. 57
Panning pag. 57
Auto Pan pag. 57
Tremolo pag. 57
Rotary Speaker pag. 57
Distorsion pag. 58
8 I - Contents
Lo-Fi pag. 58
Distortion pag. 58
Phonograph pag. 58
Crusher pag. 59
Overdrive pag. 59
Amp simulation pag. 59
Pre Amp pag. 59
Tone Control pag. 59
Cabinet pag. 60
Mix/Master pag. 60
Param EQ pag. 60
Channel Strip pag. 60
Compressor pag. 60
Limiter pag. 61
Dance pag. 61
Slicer pag. 61
8.3 BPM linked effects pag. 61
Chapter 9 Automation pag. 63

9.1 Automating parameters pag. 63
Chapter 10 Tips and Tricks pag. 65

10.1 Polyphony and CPU usage pag. 65
10.2 Get the most our of your SampleTank® pag. 65
Chapter 11 Support pag. 67
I - Contents 9
Plug-In Sample Workstation
10 II - Interface
II - Interface 11
License Agreement
END-USER LICENSE AGREEMENT FOR SampleTank® software
Please read this document carefully before breaking the seal on the media package. This agreement licenses the enclosed software to you and contains
warranty and liability disclaimers.
By breaking the seal on the media envelope, you are confirming to have taken notice of terms and conditions of this agreement and you acknowledge
your acceptance of the software as well as your acceptance of the terms of this agreement. If you do not wish to do so, do not break the seal. Instead,
promptly return the entire package, including the unopened media package, to the dealer from whom you have obtained it, for a full refund.
1) DEFINITIONS
“EULA” means this end user license agreement.
“SampleTank® software” means the software program included in the enclosed package, and all related updates supplied by IK Multimedia.
“IK Multimedia Product” means the SampleTank® software and the related documentation and models and multimedia content (such as animation,
sound and graphics) and all related updates supplied by IK Multimedia.
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12 III License Agreement

5) UPGRADES
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You may receive the “IK Multimedia Product” in more than one medium. You may not loan, rent, lease, or otherwise transfer the other medium to another
user, except as part of the permanent transfer (as provided above) of the “IK Multimedia Product”.
7) LIMITED WARRANTY
IK Multimedia warrants to the original purchaser of the computer software product, for a period of ninety (90) days following the date of original pur-
chase, that under normal use, the software program and the user documentation are free from defects that will materially interfere with the operation
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III License Agreement 13

SampleTank® 2: Plug-In Sample Workstation
14 1 - SampleTank®
Chapter 1 SampleTank®
1.1 Introduction
SampleTank® is a revolutionary sample-workstation which combines 3

sophisticated sampler/synth engines with high quality multisampled
sounds into a plug-in instrument. A killer combination with sequencers like
Cubase™, Logic™, ProTools®, DigiTal Performer™, Sonar™, etc which are
compatible with plug-in instruments.
No other hardware or software synth/sampler lets you browse through

hundreds of the highest-quality natural and synthesized sounds, of the
widest range, with one click, select them in a flash, and have them ready for
you to play in a fraction of the usual time. Tons of professional high-quality
sounds are included with the software, and as such are immediately at your
disposal.
You have hundreds of sounds, ready to go. Superb Acoustic Grand Pianos,
Guitars, Basses, Strings, Orchestral Sounds, Drums and Percussions made
with the finest samples and accurately programmed. SampleTank® offers
the widest selection of hi-quality playable sounds with a variety you cannot
find anywhere else!
Just plug and play!
1.2 What is SampleTank®
SampleTank® is a polyphonic, multitimbral, sample-workstation with

multi-effects units and proprietary sound banks, all combined together into
a unique plug-in instrument. SampleTank® uses samples as oscillator
waveforms but the synth engine is much more flexible than conventional
hardware samplers. This makes SampleTank® more like a complex work-
station than a traditional sampler, with 32-bit floating-point processing of
superior quality.
To use SampleTank® you’ll need a MIDI sequencer compatible with plug-

ins (or alternatively a plug-in host). An adequate audio card (with low-
latency drivers) and a master-keyboard are strongly recommended to play it
like a hardware musical instrument.
1.3 What’s new in SampleTank® 2
3 synth engines
For the first time in a sample-based instrument, 3 synth engines can be
selected on the fly to provide more sound flexibility than ever before: tradi-
tional Resampling (the conventional method of playback that most sam-
plers use), Pitch-Shift/Time-Stretch and our all new STRETCH™ engine.
STRETCH™ (Sampletank® Time REsynthesis TeCHnology) gives complete
sonic control over the tempo, pitch and harmonics of samples. No more
"chipmunk sounding" transposition, no more loops and phrases out of sync,
no more limitations in musical expression.
1 - SampleTank® 15
Multisamples like you’ve never heard before with STRETCH
Multisampled instruments with STRETCH™ deliver amazing realism and
expression. Your performances come to life with true glide, bending, stac-
cato and vibrato with an incredibly rich, vibrant, and natural quality. Plus,
pushing STRETCH™ to the limit can take you to a whole new world of
unheard sonic territories.
Loops become playable instruments

The Pitch-Shift/Time-Stretch function allows to sync any loop to the
sequencer tempo and to sync various loops together with a single click!
Slow the tempo of loops down to zero without affecting the pitch or have
your loop tuned or singing by changing its pitch in real time without chan-
ging its tempo. Play loop phrases with chords in sync and run them through
filters and effects for the first time in a virtual instrument. Only
SampleTank® 2 allows you to use loops as an instrument with unlimited
expression.
Easy to control 50 parameters synth

SampleTank® 2 allows full and easy access to more than 50 new synth-
engine parameters including multi-mode filters, envelopes, LFOs and more
for your own patch creation. All of these packed into a musician friendly
interface with everything you need right at your fingertips.
An effects powerhouse
SampleTank® 2 is the only sample-based virtual instrument to have over
30 high quality DSP effects built-in to the module. With 5 effects per instru-
ment channel, the ability to sound like a produced album instantly sets
Sampletank® 2 apart from all other virtual instruments. Included are
effects from our award winning AmpliTube™ and T-Racks® plug-ins, plus
12 stage phasers, flangers, chorus, delay, reverb, rotary, tremolo... all saved
with the sound for instant recall!
16 layerable multitimbral parts

A streamlined interface complete with light-speed control over
SampleTank®'s 16 multitimbral parts - Instant access to MIDI channel,
Solo, Mute, Polyphony, Volume and Pan.
Fully expandable
SampleTank® 2 allows you to import WAV, AIFF, SDII samples, AKAI®
S1000-3000 and SampleCell® instruments directly from the plug-in. Plus
there are currently more than 5,000 native Sampletank sounds available
from select world-class sound designers including Sonic Reality, AMG and
Masterbits.
Save and exchange song data using the same sounds

With SampleTank® 2 you can save every setting for making your own
exclusive patches and presets. Exchange sounds and SampleTank® 2 ses-
sions in any sequencer, Mac or PC, giving you the ability to collaborate and
work on any system.
16 1 - SampleTank®
Full MIDI control
Every parameter in SampleTank® 2 is MIDI controllable for optimal inte-
ractive performance. From MIDI program change to full automation and
total recall, SampleTank® 2 delivers the performance features musicians
need the most.
Instantly compatible with every platform

SampleTank® 2 is available for Mac®0S9, Mac®0SX and Windows®,
VST®i, DXi, RTAS, MAS and Audio Units all from the same box.
1.3 Features
Summarized here are SampleTank®’s 2 main features:
- 16 parts multitimbral sound module with layerable parts.

- New mix view and full mix parameters control.
- 3 synth engines: new STRETCH™ and Pitch-shift/Time-stretch plus
traditional Resampling.
- New enhanced instrument browsing.
- New total sound editing with full access to 50 Synth-Sampler engine
controls.
- New Portamento feature for added realism.
- New Loop Sync feature for precision and flexibility.
- New Zone feature for single sample accurate editing.
- Now with 32 built-in DSP effects.
- EQ/Comp.
- Reverb, Spring Reverb, Ambience, Reverb Delay, Delay.
- Filter, Envelope Filter, Multi Filter, Wah-Wah.
- Chorus, Multi Chorus, Phaser, AM Modulation, FM Modulation,
Flanger, Envelope Flanger.
- Auto Pan, Tremolo, Rotary Speaker.
- Lo-Fi, Distortion, Phonograph, Crusher, Overdrive.
- Pre Amp, Tone Control, Cabinet.
- Parametric EQ, Channel Strip, Compressor, Limiter.
- Slicer.
- Now capable of 5 effects per voice.
- Easy to use full MIDI control.
- Now responds to MIDI Program change.
- Now imports WAV, AIFF, SDII, AKAI® S-1000/3000 and SAMPLE-
CELL® directly from the plug-in.
- New user preset and module save features.
- Convenient back up function.
- Customizable keywords and sound search function with integrated
sounds database.
- 256 notes polyphony.
- Customizable display colors.
- Available as VST, RTAS, DXi, AU, MAS.
- For MacOS®9, MacOS®X, Windows® 2000/XP.
1 - SampleTank® 17
18 1 - SampleTank®
Chapter 2 Using SampleTank®
2.1 2.1 Starting SampleTank® in Cubase™ VST and Cubase™ SX
Launch Cubase™. Open the VST Instruments Panel by pressing F11 or by

selecting it from the Panels menu (VST) or from the Devices menu (SX). The
VST instruments rack will open. Click on any of the empty slots (where it
says ‘No VST Instruments’) and select SampleTank2 from the list. Now click
on the Edit (VST) or ‘e’ (SX) button to open the SampleTank 2 interface.
Now create a new MIDI track in the main arrange window and select
SampleTank2 as its output, rec enable the track and you’re ready to play.
It you were already working on some midi tracks and you would like to have
SampleTank®2 play these parts simply assign SampleTank2 as their output
without creating any new MIDI tracks.
SampleTank™2 is 16 channels multitimbral; select the MIDI channel you
want to use from the Cubase midi track ‘chn’ parameter.
2.2 Starting SampleTank® in Logic™ Audio
Launch Logic™ Audio. Create an Audio Instrument track or select one if your
default song already has some. Go to the Mixer and insert SampleTank2 on
that track from the VST sub menu (PC or Mac OS 9) or from the AudioUnits
sub menu (Mac OS X), SampleTank2 will be launched.
Double click on the loaded slot (blue) to open the SampleTank2 interface.
Return to the Arrange window, select the Audio Instrument track and now
you can play from your midi keyboard.
16 parts multitimbral usage in Logic:

Due to the way Logic’s Audio Instrument tracks are made, the midi channel
selection you apply in the arrange window is forced to be the same for all
the tracks that uses the same Audio Inst. It is anyway possible to use
SampleTank2 with more than one channel (up to 16) by selecting “all” in the
midi channel field of the Audio Instrument and selecting the midi channel
on the various tracks events.
This can also be achieved by switching the ‘transmit’ midi channel on your
midi keyboard when you record your parts.
2.3 Starting SampleTank® in ProTools®
Launch ProTools and create your new session. Note that SampleTank2 sup-
ports sample rates up to 96 KHz. Going beyond is not advisable, although it
is still possible.
Create a stereo Audio track (do NOT rec enable it), open the mixer, click on
an insert and choose SampleTank® 2 from Multichannel RTAS plug-ins list,
the SampleTank® 2 interface will automatically open.
Now create a Midi track, record enable it, and choose one of the 16 channels
of SampleTank® 2 as its output from the Mixer window, you’re now ready
to play.
2 - Using SampleTank® 19
On some systems a quick play/stop is needed to activate the audio strea-
ming and therefore the sound from the plug-in.
As SampleTank® 2 is an RTAS plug-in it can be inserted into Audio tracks

only on TDM systems. If you’re working with ProTools LE (Digi 001, Digi 002,
MBox and other non-TDM systems) then you can insert SamlpleTank2 into
a stereo AUX track. This is convenient in order to save Audio tracks.
2.4 Starting SampleTank® in Digital Performer
Mac OS 9:
Launch Digital Performer and create your new session.
Create a Stereo Audio Track (do NOT rec enable it) and, in the mixing board,
insert SampleTank® 2 into it as an audio effect the SampleTank® 2 inter-
face will automatically open. Create a Midi track and choose one of the 16
channels of SampleTank® 2 as its output, rec-enable the midi track and
you're ready to play/record.
Mac OS X:
Launch Digital Performer (4.1 or newer) and create your new session.
From the 'Project' menu select 'Add Track' > 'Instrument Track' and choose
'IK Multimedia SampleTank® 2 stereo'. Create a Midi track and choose one
of the 16 channels of SampleTank® 2 as its output, rec-enable the midi
track and you're ready to play/record.
2.5 Starting SampleTank® in Sonar®
Launch Sonar and create your new session using, for example, the ‘normal’
template.
Open the Console (pressing ALT+3) and locate an Audio track, make sure it’s
stereo (default). Right click into the FX insert area (black) of the AudioTrack
on the mixer and choose SampleTank® 2 from the DXi sub-menu. (….from
the VSTi sub-menu) After a while the SampleTank® 2 interface will appear.
Now locate a Midi track on the Mixer, record enable it, select SampleTank®
2 1 as its output and the midi channel you’re going to use for this
SampleTank® part SampleTank® 2 has 16), you’re now ready to play from
your keyboard.
If you need to record the part do NOT record enable the audio track where
SampleTank® 2 has been inserted, instead record enable the Midi Track.
20 2 - Using SampleTank®
2.6 Loading and playing instruments
The selection and loading of instruments has been greatly enhanced in

SampleTank® 2.
The available instruments are displayed at the center of the SampleTank®

interface in the BROWSER window (figure 1). The scrollable list of instru-
ments has been enlarged to accomodate 16 instruments and also to reflect
the number of available instruments you can simultaneously load in a
SampleTank® 2 module (16 parts).
fig. 1
The BROWSER list of folders and instruments reflects the same folders and
instruments organization of the hard disk folder where your sounds are
located. This folder is called the “root” folder and it’s location is stored in the
SampleTank® 2 PREFERENCES (which you can access and change by
fig. 2 clicking the PREF button) (figure 2).
Folders are indicated with a white triangle (figure 3). To open a folder, click
on its name in the list or on the triangle. Opened folders display the list of
available instruments. To close a folder, re-click on its name or on the trian-
gle.
fig. 3 To load an instrument in SampleTank® simply double-click on it. It will be

loaded on PART 1 (if it’s the first to be loaded) (figure 4).
All the SampleTank® 2 parameters on the interface will now reflect those
of the loaded parts.
The MIX window (figure 5) allows you to load up to 16 SampleTank®

instruments per module, every instrument will be loaded into a PART. To
fig. 4 select the PART where you want to load an instrument simply click on the
PART number or in the middle of the part window.
Once a part is selected the instrument will be loaded into that part. If the
part already contains an instrument, the newly loaded instrument will
replace the previous one (you can UNDO this operation with the UNDO but-
ton).
Every PART responds to a MIDI channel (CH.) (figure 6). By clicking and
dragging on the CH. number of each PART you easily select the MIDI chan-
nel that this PART responds to.
Assigning the same MIDI channel to more than one PART will have all the
fig. 5 PARTs responding to the same MIDI channel for building up to 16 parts
huge layered sounds.
You can now play the instrument using a master keyboard connected to the
sequencer, using a MIDI sequence in the track or by playing the
SampleTank® 2 mini-keyboard. MIDI activity in the PART is indicated by
fig. 6
2 - Using SampleTank® 21
the PART led which lights when MIDI is received on that PART (figure 7).
Once an instrument is loaded into a PART the image of the LIBRARY which
the instrument belongs to will appear on the right side of the interface. By
Clicking on the LIBRARY Image further information will be displayed such
fig. 7 as instrument info, copyright info, MACRO controls info (if those are inclu-
ded in the instrument) (figure 8).
One or more pre-defined effects will be loaded and displayed in the

EFFECTS section of the SampleTank® 2 interface. You may also notice the
MACRO controls and the SYNTH-SAMPLER controls are updated according
to the loaded sound.
fig. 8
2.7 Controlling instruments: the MIX window
All the controls included in the MIX window are designed to give you imme-
diate control over your mix of instruments.
Here you have several controls at your disposal:

fig. 9
- You can change the MIDI channel associated to that PART.
- You can SOLO and MUTE instruments (figure 9).
- You can see the amount of RAM that the instrument is using (MB). By
fig. 10 clicking on the MB button at the top you can also display the entire
amount of RAM used by all the loaded instruments (figure 10).
- You can set the maximum polyphony for each specific instrument (by
click and dragging the mouse on the POLY number).
- You can EMPTY the PART with the empty button (figure 11).
fig. 11
- You can control VOLUME and PAN of each specific PART (figure 12)
(by clicking and dragging the mouse on the VOL and PAN number).
- You can associate through which STEREO OUT that part is playing
(the max number of stereo outputs is set in PREFERENCES by clicking
the PREF button) by clicking and dragging the mouse on the OUT
fig. 12 number (figure 13).
- You can see the level of the instrument playing with the LEVEL
display (figure 14).
fig. 13
fig. 14
22 2 - Using SampleTank®
Chapter 3 Controlling SampleTank®
3.1 OCTAVE transposition
Once an instrument is loaded it can be quickly transposed by +-2 octaves, in
1 octave increments, by clicking on the OCTAVE button. By clicking the but-
ton a pop-up menu will appear where you can select the octave trasposi-
tion. Once the pop-up-menu is closed,the button is displayed the current
setting.
3.2 POLY/MON0/LEGATO
The POLY/MONO/LEGATO button (figure 15) switches the current instru-
ments between polyphonic, monophonic and monophonic with legato. You
can select one of this mode clicking on the button and selecting one in the
pop-up menu. Once the pop-up-menu is closed in the button is displayed
the current setting.
In monophonic with legato (LEGATO) it is possible to control the PORTA-

MENTO time (the time of the blending between the notes) with the PORTA-
MENTO TIME knob from 1mS to 10 Sec.
fig. 15
3.3 MACRO controls section
The MACRO controls (figure 16) are up to four parameters, specific to each
instrument, chosen by the sound designer to offer the user an immediate
way to affect the sound and tailor it to his needs. An orchestra needs diffe-
rent parameters than a drum, which again needs different parameters than
a synth.
fig. 16 These four parameters, from left to right, A, B, C and D, will display different
labels according to the instrument they are associated with. A complete
description of the A, B, C, D parameters can be found by clicking on the
LIBRARY image several times.
Inactive knobs (those without a linked parameter) are shaded in gray. You
can modify sound parameters immediately after loading the instrument by
turning the MACRO A, B, C, D knobs accordingly.
All MACRO parameters can be controlled through MIDI control change (see
paragraph 3.9).
3.4 SYNTH-SAMPLER section
SampleTank® 2 give you full control of its powerful synth engine in the
new SYNTH-SAMPLER section. Here you can control more than 50 parame-
ters divided into 7 sections. Although the SampleTank® 2 engine offers
great complexity, the user is facilitated by seeing the engine parameters
presented as they would be using a traditional synth architecture with oscil-
lators, although sample based, (figure 17) plus the ability to switch between
3 different types of sample engine.
3 - Controlling SampleTank® 23
fig. 17
Synth here is where you select the synth engine type, from:
Resampling, Pitch-Shift/Time-Stretch/STRETCH™
Here is where you perform Time and Pitch manipulation.
Envelope 1 Amplitude (Volume) envelope controls.

Envelope 2 Pitch & Filter envelope controls.
Filter LPF, BPF, HPF filter with selectable slope: 6, 12 or 24 dB/Oct.
LFO1 5-waveforms LFO useful to modulate Volume, Pitch & Filter.

LFO2 5-waveforms LFO useful to modulate Volume, Pitch, Filter &
Pan.
Velocity Here you can control the way the midi velocity affects the
sound, modifying the way it affects Volume, Filter, Pitch, etc.
To display one of these sections simply click the appropriate button (figure
18). The section you’re currently displaying will have the button highligh-
ted.
fig. 18
You can edit all instruments parameters in the SYNTH-SAMPLER section by

adjusting the Knobs of this section once you’ve loaded an instrument. Each
of the 16 instruments you can load in SampleTank®2 can have different
SAMPLER-SYNTH settings.
Your modification will be kept when the song session you’re working is
saved. You can also SAVE these modifications into an INSTRUMENT PRESET
(see paragraph 5.1).
All SYNTH-SAMPLER parameters can be controlled through MIDI control
24 3 - Controlling SampleTank®
change (see paragraph 3.10).
For more information about SampleTank® 2 SYNTH SAMPLER section see

chapter 7.
3.5 EFFECTS section
Each SampleTank® 2 instruments can be programmed with 5 effects each.

The effects are displayed in the effects slots (figure 19). The 1st effect slot
contains always an EQ, compressor. The other 2-5 effect slots can contain
fig. 19 one effects choosen from among 32 DSP effects.
To view the list of available effects once you’ve loaded an instrument, click
on the arrow at the right in each of of the 2-5 effects slot (figure 20). A pop-
up menu will appear displaying all the 32 DSP effects which are available
fig. 20 in SampleTank® 2 (figure 21).
Now move the selection with the mouse and click on an effect to load it. The
selected effect name will now show in the effects slot (figure 22). To empty
an effects slot, simply select the NO EFFECT option.
To view and change each effect’s parameters, click on the desired effect’s
slot. A frame will appear around the slot indicating that effect is selected
(figure 23). Only the selected effect will be shown on the interface at any
time. The effect knobs are labeled corresponding to the effect’s parameters.
The unused knobs will be shaded in gray. Above each effect knob you can
read a label corresponding to its function. Below the effect knob is its cur-
rent value.
To activate an effect, click on its ON button to the right (figure 24). The but-
ton is highlighted(figure 25) and the effect is active. All active effects are
inserted in the instrument chain following a patch order from top to bottom
of the effect window. To deactivate an effect, click on the ON button again to
deactivate the effect. The button will turn normal.
You can BYPASS all effects at once (i.e to hear the sound dry) by clicking on
fig. 21 the BYPASS button (figure 26). You can also LOCK into SLOTS effect preven-
ting them to change when a new instrument is loaded. This way you can
prevent instrument settings of effects overriding your own settings.
fig. 22/23
The tempo-related effects in SampleTank® 2 can also be synced to BMP of
the sequencer (when the sequencer allow this function). In this case the
effects will also present a BPM ON/OFF switch (figure 27). When switched
ON the effects will be linked to sequencer tempo (and its measure unit will
fig. 24/25 fig. 26
turn to division of the beat).
You can also save multiple or single effects settings and Load these settings
with the SAVE MULTI, SAVE and LOAD button (figure 28). The effects set-
tings are saved as .STFX file. A dialog window will appear when you click
fig. 27 fig. 28
one of these buttons asking for saving or loading files.
As with the sound parameters, effect parameters can be controlled through

MIDI control change (see paragraph 3.10).
3.6 MINI Keyboard
fig. 29
SampleTank® 2 new MINI keyboard (figure 29) act both as display of the
notes you’re playing and as an input device for playing SampleTank®
instruments.
fig. 30
You can play any notes of the 7 octave mini keyboard simply by clicking the
note with the mouse.
You can also play chords directly with one click by selecting which chord
you want to play with the CHORD button. A pop-up menu will display the
most common type of chords (figure 30). Selecting one of these (it will be
displayed in the button) will cause the chord will be automatically played
fig. 31
when the mouse is clicked on any of the MINI keyboard notes (figure 31).
3.7 ZONE control
By clicking the ZONE button you will switch into the ZONE mode (figure 32).
The MINI keyboard will display how the samples are mapped on the key-
board by a series of zones of alternate color. When the keys show no color
it means that no sample is associated with those keys.
fig. 32
To activate a zone simply click on it with the MINI keyboard (figure 33) or
hitting the corresponding key on your midi keyboard. By doing this you can
change any of the SYNTH-SAMPLER parameters just for this zone (you can
for example change only the attack of a snare sample in a drum kit). These
settings will be applied ONLY to that specific zone, leaving the others
untouched.
fig. 33 The ZONE editing is very powerful and extremely detailed because it offers
you control at the sample level. As for all the others instrument parameters,
you can also SAVE zone modifications into an INSTRUMENT PRESET (see
paragraph 5.1) for faster access.
3.8 LOOP sync
In SampleTank® 2 syncing loops to the sequencer tempo or syncing various

loops together is as easy as a simple click.
Simply load into a part one of the loops which came with the XL collection
and click the LOOP SYNC button (figure 34). Automatically the loop will be
fig. 34 synced with the sequencer tempo (when using sequencers that allow this
function). Now, even if you change the BPM tempo of the sequencer, the
LOOP will remain synced!
To sync various loops together, at sequencer tempo, simply load each one
into separate parts and click SYNC LOOP for each of these parts.
All the three synth engines provided can be used in conjunction with the
LOOP SYNC feature, select your preferred one in the SYNTH-SAMPLER sec-
tion (figure 35). Each one of them will provide different characteristics by
using the PITCH or TEMPO knobs:
fig. 35
Resampling
Will Sync loops and also the Pitch is affected when Tempo is changed (figure
36). This is the method used by conventional samplers, it changes at the same
time both the pitch and the tempo of a sample, as turntables do. It offers the clea-
nest possible sound, since it simply reads the samples slower or faster, without
applying any complex math on the sound.
fig. 36
Pitch-Shift/Time-Stretch
Will Sync loops, offering independent controls on Tempo and Pitch and the
Pitch is NOT affected when the Tempo is changed (figure 37). This is the best
engine to use on loops (which generally are constructed from a mix of
various elements).
fig. 37
STRETCH™
STRETCH™ can also sync loops providing independent controls on Tempo
and Pitch (and Harmonics) (figure 38) and the Pitch is NOT affected when
fig. 38
Tempo is changed. However STRETCH™ works best with single instruments
and not mix of instruments; therefore it can be used when the LOOP is made
with a riff or a phrase made by a single instrument. On unpitched sound
(like percussion) STRETCH™ can produce weird (but interesting) results.
It’s important to know that to perform LOOP SYNC, SampleTank® 2 must

know the loop’s BPM, and it will detect this information from:
fig. 39
- the instrument name
- the instrument keywords
It will first scan all the keywords and in case the BPM information is mis-
sing the name of the sample will be considered as a source for the value.
A 3-digit number either in the name or in the keywords will be considered

the LOOP’s BPM (figure 39). All the loop sounds produced by IK Multimedia
already contain this info in the instrument. You can insert the BPM of your
own loops adding a keyword to your instrument (see paragraph 4.1) clicking
on the USER KEYWORD field.
Also dont’ forget to insert the BPM (which will be added as a keyword)
when you import external loops (see paragraph 6.1) to perform immediately
the LOOP SYNC function on them later.
To apply the LOOP SYNC features to more than one instrument simulta-
fig. 40 neously with a single click, simply activate GLOBAL SYNC in the PREFE-
RENCES window (see paragraph 3.11).
3.9 MID CTL association
While SampleTank® 1 had fixed MIDI control association, SampleTank® 2

has implemented a new extremely flexible method. You can now associate
fig. 41 any MIDI CTL (MIDI controls) to any SampleTank® 2 knob, to fully control
your SampleTank® 2 with hardware controllers and keyboards.
A different MIDI CTL association can be created for any of the 16

SampleTank2 parts.
The procedure to associate MIDI control is as follows:
1) click on the MIDI CTL button (figure 40)

2) click on any of the knobs you want to automate (figure 41)
fig. 42 3) a pop up window will be displayed with the name of the knob parame-
ter and a field for associating the MIDI CTL written N/A (not available)
(figure 42)
4) click and drag on this field to change the MIDI controller number (figure 43)
which you want this knob will respond
5) to de-associate a MIDI CTL from a knob simply select the N/A(not avai-
lable) value on it.
fig. 43
In the window you will also find the min./max. value of the knob you’re
associating. You can easily personalize the range to be controlled with an
external MIDI CTL by changing the min/max. value.
fig. 44 MIDI CTL association are saved with your song data as all the sounds
tweaks you may have done.
If you want to SAVE with the sound a specific MIDI CTL association, you can
save a USER PRESET sound (see paragraph 5.1). This way loading the sound
will automatically load its MIDI CTL assocation.
You can associate any kind of hardware controls to SampleTank® 2 para-

meters this way. Note that for compatibility with SampleTank 1 CC’s from 12
to 15 are associated to the MACRO knobs (old A, B, C, D knobs in
SampleTank 1).
fig. 45
3.10 PROGRAM CHANGE association
With SampleTank® 2 you can also associate MIDI PC (program change) to

any of the sound. Simply click an instrument on the BROWSER and then
click the PROGRAM CH. button at the top of the list of instruments (figure
44). This will display the MID PC association window (figure 45). Simply
click and drag on the number you see at the side of the instrument name in
fig. 46 this window (from 0 to 127). The N/A value means no association is made.
You will also be able to save the PROGRAM CH. association into a file with
the SAVE MAP button. The LOAD MAP button (figure 46) loads a previously
saved PROGRAM CH. map.
By associating MID Program Change to the instrument you will be able to

fig. 47 produce your own General MIDI set for playing General MIDI file. Also you
can use PROGRAM CH. to load sounds live by sending a simple PROGRAM
CH. to SampleTank® 2.
3.11 Preferences
Click on the PREFS button (figure 47) to display the SampleTank® 2 prefe-
rences window.
In the preferences window (figure 48) you can:
- Select the ROOT folder for your SampleTank® instruments.
- Select to automatic RELIST the instruments browser window.

fig. 48 Allow you to switch off auto relist at start up, this can be useful to
greatly speed up the SampleTank® 2. start-up which could take some
time in case you have a very large set of instruments on your hard
drive. If the automatic relist at startup is turned off SampleTank2 will
start quickly and will show an instrument list created relying on a
cache file previously created. This means any change in the structure
of the istruments won’t be shown in the Instrument Browsing win
dow. To manually update the instruments list simply click the button
RELIST. This can be pressed at any time to be sure the list is up-to-
date.
- Activate GLOBAL SYNC. This preference allows to use the SYNC-LOOP

only once for all the loops loaded in the parts. They all will be synced
with one click when GLOBAL SYNC is activated.
- Activate the number of supported outputs according to the sequencer

platform. A slider allows you to select the number of stereo outputs to
be used by the module. This number may vary among the platforms.
Once the slider is set to a value you’ll be able to set the desired out-
put pair to the sequencer Mixing desk from the mix area, but only
after closing and reopening SampleTank® 2. This is because
SampleTank® 2 ‘declares’ how many outputs it will put on the mixer
at the startup.
The maximum number of outputs available is 16 but it may be lower depen-

ding on various platforms limitations.
All the information included in the preferences is also stored in the

ST2Pref.txt file as well as other info. The ST2Pref.txt file can be found here:
Windows: ST2Pref directory relative to install directory

Mac OS9: ST2Pref directory in extensions folder
MacOSX: IKMultimedia\SampleTank2\ST2Pref directory relative to
users preference directory
The file contains:
AkaiImportPath= the path where AKAI® CD programs have been con-

verted last time
SampleExtractPath= the path where AKAI® CD samples have been con-
verted last time
SampleImportPath= the path where the samples have been imported last
time
Color= the color of the SampleTank 2 display
Luminosity= the luminosity of the SampleTank 2 display
Saturation= the saturation of the SampleTank 2 display
FirstRun= used to detect if this is the first run of the plug-in
FlatVelocity= velocity value when velocity setting is set to flat
GlobalSync= GLOBAL SYNC activated/deactivated
InstrumentPath= the path where the SampleTank® instruments are
installed
Reload= RELIST at start-up activated/deactivated
RegID= authorization code
Serial= serial number
VstOutputs= max. number of output in VST (1-8 stereo outputs)
AUOutputs= max. number of output in Audio Units (1-8 stereo out
puts)
BrowseUp= midi note number that’s assigned to the browse UP
(notes from 0 to 127, -1 means disabled, Arrow UP, see
3.12)
BrowseDown= midi note number that’s assigned to the browse
DOWN (notes from 0 to 127, -1 means disabled, Arrow
DOWN, see3.12)
3.12 Other controls
RELIST
The RELIST button (figure 49) allows you to refresh the list of sounds. It is
useful when sounds are copied manually in the ROOT folder while the plug-
in is opened. Clicking RELIST produce a refresh of the list, including the new
sounds.
fig. 49
SampleTank® 2 automatically performs a RELIST at start-up (unless this is
deactivated from the PREFERENCES window to reduce program start-up
time) and each time an Instrument user preset is saved.
Arrow UP-DOWN
These 2 arrows (figure 50) allow you to switch between the sounds and
automatically load them into the currently selected part. These 2 buttons
are by default associated to the midi keys C0 and D0, respectively so that
you can select and load sounds from your midi keyboard.
fig. 50 To change this assignment or disable it you will need to manually change
the ST2Pref.txt file (see 3.11)
Volume and Pan

You can set the Volume and Pan of each single instrument using the Volume
and Pan knobs.
COL/LUM/SAT
This 3 knobs (figure 51) allow you to change the dominant color of the
SampleTank® 2 interface. The COL knob will switch among colors, LUM will
control luminosity and SAT saturation, so you can fine-tune the aspect of
Sampletank® 2 to your own preference.
fig. 51
Information (i)
By clicking on the I button, the credit interface will be displayed. Clicking
anywhere on the credit interface will return to normal mode.
Keyboard modifiers
You have some keyboard modifiers which allows you to fine control
SampleTank® 2 knobs:
- for finer adjustment of any parameter hold down the CTRL key while drag-
ging the knobs
- clicking on any knob while holding the ALT key will cause the control to
jump to its default.
Chapter 4 Organizing instruments
SampleTank® 2 immediately provides thousands of different instruments.
Due to the sheer quantity of sounds, organization and accessibility become
essential factors for the professional user.
SampleTank® answers this concern with two complementary ways of

accessing files: a search function and user-defined categories.
4.1 Keywords and User Keywords
All SampleTank® native and converted instruments have a set of hidden

keywords which can be used to locate any instrument directly.
Each SampleTank sounds can contain to up to 32 hidden keywords which

have been incorporated by the sound-designers. In addition to these fac-
fig. 52 tory-keywords, with SampleTank® 2 the user can add up to 8 user
keywords by clicking on the USER KEYWORDS field (figure 52).
A pop up window will display (figure 53) asking you to insert the user
keywords separated by commas (,). After closing the window the user
keywords will be displayed in the USER KEYWORDS field.
fig. 53 User keywords are particularly useful for personal searches or for inserting
the BPM of loops in order to use the LOOP-SYNC function.
4.2 Search function
To begin a search, click on the SEARCH field (figure 54). A pop-up window
will open asking for your search keywords (figure 55). You can insert mul-
tiple keywords separated by commas (,). When you click OK all the instru-
fig. 54
ments whose set of keywords match the current search will be immediately
displayed in the instruments list (figure 56). You can load any of them,
without further browsing.
By clicking RELIST you will be returned back to the ROOT folder level. You
can use up to 32 different keywords at a time; all must be separated by com-
mas. Using more keywords further refines the search, meaning that only the
fig. 55
instruments containing ALL the keywords will be displayed.
Examples of searchable keywords:
60s, 70s, 80s, accordion, acoustic, afro, agogo, alto, ambience, ambient,
fig. 56
analog, asian, B3, bandoneon, bass, bassoon, bd, BDs, bell, berimbao,
blues, bongo, bpm, brass, british, brush, cabasa, cello, choir, chord, cho-
rus, church, clarinet, classic, classical, clavi, conga, contralto, country,
cowbell , cuica, d'n'b, D'n'B , dance, darabuka, distorted, DJ, djembe,
doumbek, drive, drum, drum'n'bass, dub, echo, effects, efx, electric,
electronic, ethnic, female, ff, fingered, flanger, flute, FM, fretless, funky,
fusion, fuzz, FX, glockenspiel, gong, groove, guiro, guitar, harmonica,
4 - Organizing instruments 33
harp, hi-hat, hihat, hip-hop, horn, house, indian, industrial, jazz, jungle,
loop, male, natural, nylon, oboe, octave, orchestra, organ , oriental ,
pad, pandeiru, percussion, pizzicato, r'n'b, recorder, reggae, repinique,
rock, sax, saxophones, shaker, slap, snare, snares, spanish, staccato,
string, strings, surdo, synt, synth, tabla, tamborine, tampura, tanta,
techno, tenor, timbale, timpani, trance, tremolo, trombone, trumpet,
viola, violin, voice, wind, wood, woodwind.
You do not need to type your keywords every time: you can define a list of
shortcuts, allowing you to effect a search with a single click. This is espe-
cially useful to organize your sounds in readily accessible categories per-
fectly tailored to your work and projects.
To create a search shortcut, do the following: once you’ve performed the

desired search, click on the SAVE button (figure 57). You’ll record the cur-
rently listed keyword(s) as a new user-defined category. Now click on the
arrow on the right of the SEARCH field. The categories pop-up menu will
fig. 57
show all user-defined categories (figure 58). Move the selection with the
mouse and click on the keyword of your choice to begin searching. You can
save up to 10 different search categories. Saving more will overwrite the
oldest saved search.
fig. 58
When the user-defined category is no longer required, you can remove it
from the list.
Click on the DELETE button (figure 59) to cancel the current user-defined
category.
fig. 57
4.3 Instruments location
A SampleTank® instrument is made of three essential files:
- <instrument>.STH containing the instrument name and description

- <instrument>.STI containing the instrument program
- <instrument>.STW containing the instrument waveforms
As already mentioned - by default all the SampleTank® instruments are

placed in the following directory tree:
- SampleTank® Instruments (root folder)
During installation, all of the .STH and .STI files and .STW files will be pla-
ced in the aforementioned folder. You can change the ROOT folder at anyti-
me by pointing to another folder in the PREFERENCES window (figure 60)
fig. 60 by clicking the BROWSE button.
To remove an instrument you can manually remove it from the ROOT folder,
taking care to remove all of its 3 files.
34 4 - Organizing instruments
4.4 Managing sound organization
Knowing how SampleTank® keeps track of its instruments, you can now
move, duplicate and regroup them (and their folders) at will; using any file
manager in your system. Just remember, when you make changes to an
instrument, to make them equally to all three instrument files, and to click
RELIST in case the automatic relisting is disabled in the SampleTank2 pre-
ferences. They must be moved together or the instrument will not work cor-
rectly.
You can also act directly on the directory path. For example you can organi-
ze your instruments outside of the default folder, or have more than one
‘SampleTank® Instruments’ folder and switch between them.
In this case, remember that you need to select where the instruments folder
is located, by means of the ROOT preferences; or SampleTank® won’t find
the instruments. As soon as you change the ROOT preferences by selecting
your new root folder, your personal instrument list will be displayed in the
interface.
Even if you've changed the instruments organization of the root folder after
using them on a song, these will be always loaded when you re-load the
song containing those instruments associated to the song's tracks.
You can even keep the instruments folder over a network of computers in
order to have different computers able to access to a single instruments fol-
der, having SampleTank® loading instruments from the network.
SampleTank® instruments format are also multi-platform . This way instru-

ments can be freely shared by Macintosh® and Windows® machines with
no problem.
4 - Organizing instruments 35
36 4 - Organizing instruments
Chapter 5 SampleTank® save function
5.1 Save and work with Preset Instruments
In SampleTank® 2 you can edit the sound at will and save it as a User
Preset sound. To do this you need always to start from a “parent” sound
which is a sound with waveform data (like a native SampleTank® sound or
an imported sound). This is the reason why User Preset sounds are also cal-
fig. 61 led “child” sounds. Simply load a sound into a part, edit it in the SYNTH-
SAMPLER, EFFECTS, ZONE, etc.. sections and then click SAVE on the USER
PRESET area (figure 61).
A dialog window will appear asking to name the sound (figure 62). When
you click OK, you will see that the parent sound now have a small black
fig. 62 triangle and the User Preset sound name will appear below the Parent
sound (figure 63). The black triangle is collapsible, you can close/open it by
clicking on it, and allowing you to save as many as presets of a parent sound
as you want and displaying them at will.
When a USER PRESET sound is created, a file with .STIP extension is made
into the folder of related the Parent Sound. Distributing .STIP files to users
fig. 63
which own the same Parent sounds allows for USER PRESETS to be exchan-
ged among SampleTank® 2 users.
USER PRESET can also be deleted by clicking on the DELETE button in the
USER PRESET area and renamed with the RENAME button (figure 64).
fig. 64
5.2 Save Module
You can also save the entire SampleTank® 2 module set-up in a MODULE
PRESET.
fig. 65
A MODULE PRESET can be used to save a complete set of SampleTank®
instruments or complex multilayered sounds.
By Clicking the SAVE module button (figure 65) a dialog window will ask to
give a name to your module preset. By clicking on the MODULE NAME
display a pop-up menu will appear (figure 66) showing all available MODU-
fig. 66
LE PRESET. Simply choose one from the menu list and it will be loaded in
SampleTank® 2. You can also SAVE AS or DELETE MODULE presets.
The MODULE PRESETS file are saved by default to the folder ‘SampleTank 2
Presets’, which path its relative to the program installation directory..
5.3 Back-up function

The back-up function allows you to produce a back-up folder where all the
instruments data (used in the current SampleTank® 2 instance) will be pla-
ced. Simply click on the BACK UP button and a dialog window will ask you
fig. 67
to select or make a folder (figure 67). All of the data of the instruments used
5 - SampleTank® save function 37

in this SampleTank® 2 instance will be copied to this folder, including even-
tually made User Presets.
The back-up function is very useful when archiving songs and closing ses-
sions, ensuring that all instruments used by SampleTank® 2 for that parti-
cular session will be easily retrieved.
It also allows you to have several producers working on a project and easily
sharing the same materials.
38 5 - SampleTank® save function

Chapter 6 Importing instruments in SampleTank®
6.1 Import sounds in SampleTank® 2
SampleTank® 2 can import WAV, AIFF and SDII samples and AKAI® S1000-
3000 in Mac and PC and SampleCell® instruments in Mac.
You can import a single file for loading a loop or multiple files to build your
fig. 68
own multisampled banks. Sampletank® 2 accepts mono and stereo WAV,
AIFF and SDII sounds at 22-96Khz, 16-24 bit and with loop-points.
To import sounds in SampleTank® 2 click on the IMPORT button (figure 68),

a pop-up menu will open asking you to select from the various formats
(SAMPLE, AKAI S1000-3000, SAMPLECELL) (figure 69). Select one format
and the corresponding dialog window will appear (figure 70).
fig. 69 6.2 Import samples and loops in WAV, AIFF and SDII
Click on the IMPORT button and choose SAMPLES from the popup menu.
Now Sampletank® 2 will prompt you for a folder selection, here you need
to select the folder that contains the samples you want to import.
Important: the samples cannot be individually selected here, this dialog is

only used for selecting a folder that contains the audio files.
Once the folder has been selected you will be presented with the Sample
fig. 70
Conversion window:
- To select the samples to be converted simply check the checkboxes you

find on the right of the names (figure 71).
- To select them all at once select the checkbox at the very top, the one which
selects the entire folder.
fig. 71
To hear a preview of the samples from here click the PLAY button. Click it
again to stop the sound (its name will change to STOP while playing).
6 - Importing instruments in SampleTank® 39

Root notes
SampleTank® 2 has a powerful system that can automatically span all the
samples on the keyboard just knowing which is the root note of the single
samples. This allow for a lighting fast instrument creation procedure, and at
the same time, avoid the necessity of long and tedious graphical adjustment
of all the zones.
- If you select just one sample then the default root note will be C4 but you
can change it by typing a different note value in the ROOT NOTE filed.
- If you select more than one sample then the samples will automatically
be spanned on the keyboard with equal spacing taking the root notes from
the name of the samples or from the Wav internal saved data, accordingly
to what it’s selected on the ‘ROOT NOTE FROM’ selector.
NAME
Use this to automatically span the samples on the keyboard taking the root
notes from the names of the samples. For example, if you have 4 piano sam-
ples you might call them:
- ‘my piano c2.wav’

In this case SampleTank2 will automatically span the samples on the key-
board by recognizing the ‘c2’, ‘c3’, ‘c4’, ‘c5’ portions of the names you gave.
This way having even the most complex keyboard spanning done it’s a bree-
ze.
SAMPLE
Use this when you want SampleTank® 2 to obtain the root notes by looking
at the internal WAV or AIFF data chunk saved by some applications, for
example the slices saved by Recycle™ are called 001, 002, 003, 004 etc.. but
the correct root notes are stored in the Wav chunk.
Velocity Splits
SampleTank® 2 allow for complex automappings both for the Root Notes
(as we mentioned above) and for Velocity Splits.
Up to 8 velocity splits are allowed.
If you select VELOCITY FROM NAME ON then the system will automatically
handle setting all the velocity splits points for you by just looking at the
name of the samples. The convention in this case is: wherever in the name
enter a ‘v’ followed (without spaces) by a velocity number. This number will
be considered by SampleTank2 as the top velocity value that sampled will
be assigned to.
40 6 - Importing instruments in SampleTank®

So, for example:
‘trombone c2 v32.wav’, will be mapped from velocity 0 to 32

And another example:
Let’s say you have 8 piano samples, 4 ‘piano’ and 4 ‘forte’ and you’re going
to create your own multisampled instrument of this Piano, with velocity
split.
You might name the 8 files in this way:
1. ‘my great piano c2 v64.wav’

The first 4 samples will be mapped from 0 up to 64, the other 4 from 65 to
127.
The Sample Conversion window allows for entering some additional data
which might be very useful in SampleTank® 2, once the instrument will be
converted.
NAME
Type here the name of the SampleTank® 2 instrument you’re going to crea-
te.
BPM
Enter the value of the BPM, if you know it, of the loops you’re importing.
This is useful for the SampleTank® 2 LOOP SYNC feature. Entering the BPM
value in this field will make this value encoded into the instrument forever,
and this will ensure that the LOOP SYNC feature will always work properly.
If this value is not entered then SampleTank® 2 will try to identify the BPM
from the name of the instrument.
TITLE
You can enter here the title of the Library you’re converting from. This info
will appear on the SampleTank 2 interface in the Library picture area.
COPYRIGHT
You can enter here the copyright information of the samples you’re conver-
ting.

INFO
A short notepad for useful information regarding the samples you’re con-
verting, this info will appear on the SampleTank 2 interface in the Library
picture area.
KEYWORDS
Add here, separated by a comma, all the keywords you want to associate to
the instrument you’re creating (up to 30). This will make the SEARCH func-
tion inside SampleTank2 to work successfully on this instrument.
Once the fields are filled you can proceed with the creation of the instru-
ment, selecting the destination clicking on BROWSE. If you want the newly
created instrument to be immediately accessible of course you’ll need to
select a destination that’s inside your SampleTank Instruments Root Folder.
Now click CONVERT and the instrument will shortly be created, and auto-
matically highlighted on the SampleTank® 2 BROWSE window.
6.3 Import AKAI® S1000-3000
Click on the IMPORT button and choose ‘S1000-3000’ from the popup menu
(figure 72).
fig. 72
- Mac: SampleTank2 will ask for an AKAI® S-1000 or S-3000 CD and the CD
ROM drive will open.
- Windows: you’ll be prompted for a drive selection, select the CD ROM drive
where you have inserted the AKAI® CD.
As soon as the CD tree has been scanned the AKAI® CD CONVERSION win-
dow will appear, showing the CD partitions on the left.
In order to browse the CD content and select which Programs you want to
convert click on the small triangles on the left of the partitions names. This
will open the partitions and will display the volumes.
Now open the volumes too and you’ll see all the programs contained insi-

de, followed by all the samples contained in that volume. You can now click
on the checkboxes on the right to select the program (or programs) you
want to convert, you can also select samples and in this case a new
SampleTank® 2 instrument with default settings will be created.
Note that if you select a single program you will be able to enter a new,
more comfortable, name that will be assigned to the SampleTank 2 instru-
ment. If you select multiple programs then the names will automatically be
the same of the AKAI® programs because it’s not possible to specify all of
them with a single field.
As you may have noticed that selection checkboxes are also present near
Volumes, Partitions and even on the entire CD: this allows for multiple con-
versions of ALL the programs present in the selected Volumes, Partitions or
in the entire CD.
While browsing the AKAI® CD is always possible to hear a preview of the

samples selecting one and clicking on the PLAY button. Click it again to stop
the sound (its name will change to STOP while playing).
Also the AKAI® Conversion window allow for entering some additional
data which will be very useful in SampleTank2, once the instrument will be
converted & created.
NAME
Type here the name of the SampleTank2 instrument you’re going to create,
this is only active converting a single program, not doing multiple conver-
sions.
BPM
TITLE
You can enter here the title of the Library you’re converting from.
COPYRIGHT
you can enter here the copyright information of the samples you’re conver-
ting.
INFO
verting.
KEYWORDS

tion inside SampleTank® 2 to work successfully on this instrument.
Once the fields are completed you can proceed with the creation of the
instrument, selecting the destination clicking on BROWSE. If you want the
newly created instrument to be immediately accessible of course you’ll
need to select a destination that’s inside your SampleTank Instruments Root
Folder.
Now click CONVERT and the instrument will be created shortly, and auto-
matically highlighted on the SampleTank® 2 BROWSE window.
Tip: SampleTank® 2 allows for assigning multiple parts to the same MIDI
channel. This way you can multiple-convert those CDs where ‘parts’ of the
entire instruments are divided in multiple programs but should play, once
loaded, on the same channel. For example there are many great Drum Kits
CDs where there are separate programs for Kicks, Snares, Hi-hats and so on.
With SampleTank 2 you can load, once converted, the Kick, Snare, Hi-hat,
Toms, Cymbals programs on the part 1, 2, 3, 4, 5 assigning the same midi
channel to all the parts. This way you’ll be able to play the whole kit with
the same track, using separated programs, and being even able to apply dif-
ferent SampleTank® 2 effects on the various pieces of the kit.
This can be very useful also with orchestral sample CDs.
6.4 Import SampleCell®
SampleCell® conversion of both programs and banks works only on

Macintosh since most of the SampleCell™ CDs are Mac-formatted. Click on
the IMPORT button and choose “SampleCell Inst” from the popup menu if
you want to convert Programs (or Instruments) (figure 73).
fig. 73
Click on the IMPORT button and choose “SampleCell Bank” from the popup
menu if you want to convert Banks in this case SampleTank 2 will automa-

fig. 74
tically convert all the Instruments that refers to the Bank(s) you’re conver-
ting (figure 74).
Now SampleTank® 2 will prompt for a folder selection, here you need to
select the folder that contains the SampleCell® programs or banks you
want to import.
Important: the programs or banks can’t be individually selected here, this

dialog is only used for selecting a folder that contains the items you want to
convert.
Once the folder has been selected you will be presented with the
SampleCell® Conversion window. You can now select using the checkbox
on the right all the Programs or Banks you want to convert.
Also the SampleCell® Conversion window allows for entering some addi-
tional data which will be very useful in SampleTank® 2, once the instru-
ment will be converted & created.
NAME
Type here the name of the SampleTank® 2 instrument you’re going to crea-
te, this is only active converting a single program, not doing multiple con-
versions or converting SampleCell® Banks.
BPM
TITLE
You can enter here the title of the Library you’re converting from.

COPYRIGHT
You can enter here the copyright information of the samples you’re converting.
INFO
verting.
KEYWORDS
tion inside SampleTank® 2 to work successfully on this instrument.
Once the fields are filled you can proceed with the creation of the instru-
ment, selecting the destination clicking on BROWSE. If you want the newly
created instrument to be immediately accessible of course you’ll need to
select a destination that’s inside your SampleTank Instruments Root Folder.
Now click CONVERT and the instrument will be created shortly and auto-
matically highlighted in the SampleTank® 2 BROWSE window.

Chapter 7 SYNTH-SAMPLER controls
7.1 Resampling controls (figure 75)
fig. 75
PITCH: controls the tuning of the samples by applying Resampling.

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

Increments are in cents and range is +/- 1 semitone.
BENDER: controls the tuning deviation given by the pitch bender wheel.
7.2 Pitch-Shift/Time-Stretch controls (figure 76)
fig. 76
PITCH: controls the tuning of the samples by applying Pitch Shifting.

FINE: controls the tuning of the samples by applying Pitch Shifting.

Increments are in cents and range is +/- 1 semitone.
TEMPO: controls the speed of the samples by applying Time-stretching.

Default is 100% which means same speed of the original, range is from 10
to 1000% (1/10 to x10 the original speed).
OVERLAP: controls the amount of data that’s mixed between the Time-stret-
cher grains. Adjust this parameter to your taste, depending on the nature of
the sample you’re going to Time-stretch.
7.3 STRETCH™ controls (figure 77)
fig. 77
7 - SYNTH-SAMPLER controls 47
Activating the STRETCH™ engine for the first time will make SampleTank®
2 pre-analyze it. This will take some time, depending on the size of the sam-
ples. Once the pre-analysis has been completed it will be stored so that it
can be readily available for future sessions.
STRETCH™ can be very useful because it allows for a number of features

that were simply not possible with conventional samplers:
- changing the timbre of acoustic instruments, even radically
- playing on the keyboard sampled phrases in chords, while maintaining
the same TEMPO on all the chord notes
- slowing down or speeding up sampled phrases without changing the pitch
and or the timbre
- slowing down or speeding up naturally ‘cycling’ instruments, such as
organs with rotary speaker or instruments with vibrato, with continuity
- slowing down or speeding up time-evolving instruments or phenomenon
such as staccato playing, or natural reverberation
- playing very realistic glides or portamentos on acoustic instruments
- making single-sample instruments able to cover a very wide range on the
keyboard without becoming unreal (and so making ‘single note’ one shot-
samples, which can be unique or limited availability samples, finally usable
for your music)
- having a sampled phrase to ‘sing’ (with the help of the mono-legato fea-
ture) the notes you need and not those of the original phrase
- and.. many many others!
PITCH: controls the tuning of the samples by applying STRETCH™ resynthe-
sis. Increments are in semitones and range is +/- 3 octaves.
FINE: controls the tuning of the samples by applying STRETCH™ resynthe-

sis. Increments are in cents and range is +/- 1 semitone.
TEMPO: controls the speed of the samples by applying STRETCH™

resynthesis. Default is 100% which means same speed of the original,
range is from 10 to 1000% (1/10 to x10 the original speed).
HARMONICS: controls the tuning of the samples, therefore the global
48 7 - SYNTH-SAMPLER controls
Timbre of the samples, by applying STRETCH™rResynthesis. Increments
are in semitones and range is +/- 2 octaves.
7.4 Filter controls (figure 78)
fig. 78
TYPE Selects the filter mode:
- LPF: low pass filter, attenuates high frequencies leaving lows passing
through.
- BPF: band pass filter, attenuates both high and low frequencies
allowing mids to pass through.
- HPF: high pass filter, attenuates low frequencies leaving highs pas
sing through.
SLOPE Selects the slope or steepness of the filter:
- 6: roll off is 6 dB per octave (1 pole)

- 12: roll off is 12 dB per octave (2 poles)
- 24: roll off is 24 dB per octave (4 poles)
FREQ: Controls the Cutoff frequency of the filter, expressed in Hz.
RES: Controls the Resonance or ‘Q’ of the filter. It’s active for 12 and 24
dB/Oct filters, not for 6 dB/Oct.
7.5 Envelope 1 and 2 controls
Envelope 1 (figure 79)
fig. 79
Envelope 1 is used to control the amplitude or volume of the samples play-

back.
ATTACK: Controls the time the sound will take to reach the nominal level
once the key is pressed.
HOLD: Controls the hold time of the amplitude envelope, useful to keep the
level steady for a certain time before it starts to fall down to the sustain
level.
DECAY: Controls the decay time of the amplitude envelope, it’s the time the
volume will take to reach the sustain level.
SUSTAIN: Controls the level of the sustained portion of the sound (while the
midi key is kept pressed).
RELEASE: Controls the time the sound will take to disappear completely
once the key has been released.
LEVEL: Controls the master level of the Amplitude envelope. Useful to glo-
bally increase or decrease the level of an instrument or of a single sample
(when ZONE editing is on).
Envelope 2 (figure 80)
fig. 80
Envelope 2 is used to control the Tuning (pitch) of the samples and/or the
frequency of the Filter.
ATTACK: Controls the time the Pitch and / or Filter freq will take to reach the
nominal value once the key is pressed.
HOLD: Controls the hold time of the Pitch / Filter envelope, useful to keep
the Pitch or Filter freq steady for a certain time before it starts to fall down
to the sustain value.
DECAY: Controls the decay time of the Pitch / Filter envelope, it’s the time
the Pitch and / or Filter freq will take to reach the sustain value.
SUSTAIN: Controls the Pitch of Filter freq of the sustained portion of the
sound (while the midi key is kept pressed).
RELEASE: Controls the time the Pitch or the Filter freq will take to return to
nominal value once the key has been released.
FILTER: Controls the depth of the Envelope 2 intervention over the Filter.
The center of the knob is 0 and at this value there is no Envelope 2 modula-
tion to the Filter. Range is from –10 to +10, so modulation can be positive
and negative.
PITCH: Controls the depth of the Envelope 2 intervention on the Pitch of the
samples. The center of the knob is 0 and at this value there is no Envelope
2 modulation to the Pitch. Range is from –6 to +6, so modulation can be
positive and negative.
7.6 LFO 1 and 2 controls
LFO1 (figure 81)
fig. 81
WAVE: Selects the waveform of the LFO1, can be: Triangle, Square, Saw,
Sine or Random (sample and hold).
SPEED: Controls the speed or rate of the LFO1. Expressed in Hz.
DEPTH: Controls the master level of the LFO1
DELAY: Controls the time the LFO1 takes to reach the nominal modulation
value after a key is pressed.
LEVEL: Controls the effect the LFO1 has on the Level (Volume) of the sam-
ples, useful to create Tremolo or Fading effects.
PITCH: Controls the effect the LFO1 has on the Pitch (Tuning) of the samples,
useful to create Vibrato effects.
FILTER: Controls the effect the LFO1 has on the Filter Cutoff frequency.
FREE RUN: Selects if the LFO starts its run when the key is pressed (Free
Run=OFF) or if it is always running (Free Run = ON).
7.7 LFO2 (figure 82)
fig. 82
WAVE: Selects the waveform of the LFO2, can be: Triangle, Square, Saw,
Sine, Random (sample and hold).
SPEED: Controls the speed or rate of the LFO2. Expressed in Hz.
DEPTH: Controls the master level of the LFO2
LEVEL: Controls the effect the LFO2 has on the Level (Volume) of the sam-
ples, useful to create Tremolo or Fading effects.
PITCH: Controls the effect the LFO2 has on the Pitch (Tuning) of the samples,
useful for creating Vibrato effects.
FILTER: Controls the effect the LFO2 has on the Filter Cutoff frequency.
PAN: Controls the effect the LFO2 has on the stereo panning of the samples.
7.7 Velocity controls (figure 83)
fig. 83
CURVE: Selects the velocity response of the selected part. Default is NOR-
MAL; other values are Comp1 and 2 which are compressed, Exp1 and 2
which are expanded.
AMP: Controls the effect that MIDI velocity has over the Volume of the
instrument.
FILTER: Controls the effect that MIDI velocity has over the Filter Cutoff fre-
quency.
PITCH: Controls the effect that MIDI velocity has over the Tuning of the sam-
ples.
RES: Controls the effect that MIDI velocity has over the Filter Resonance or
Q.
LFO1 DEPTH: Controls the effect that MIDI velocity has over the LFO1
strength.
ENV2 SUSTAIN: Controls the effect that MIDI velocity has over the value of
the Envelope2.
Chapter 8 SampleTank® multi-effects unit
8.1 SampleTank® multi-effects unit
SampleTank® contains an integrated multi-effects engine (figure 84)

which offers high quality DSP effects giving the maximum flexibility, crea-
tivity and realism to all the instruments. All the effects are top-class and
have been designed with sound-shaping in mind.
fig.84 In SampleTank® there are four slots for the insertion of effects (for each of
the 16 instruments which can be opened in a single SampleTank® module).
These may contain preset effects which are part of the instruments. You can
change and re-assign effects among those provided with SampleTank® at
will.
Each effect is customizable through a series of parameters linked to an

effect knob. All effect knobs are also MIDI-controllable and can be automa-
ted in your sequencer.
8.2 Effect list
There are one fixed plus four customizable effect slots in SampleTank® 2
(figure 85) . The first slot is dedicated to EQ/COMP while in each custom slot
the user can open one of the 32 DSP effects available. You can now insert
the same effect in more than one slot.
fig.85 Slot 1
EQ/Comp (figure 86)
Equalization and compression are applied by default on the first slot. This
effect features a semi-parametric EQ and an easy-to-use compressor. Both
units feature very high quality giving an extremely well sounding equaliza-
tion and an “analog-style” compression.
- LOW GAIN: boosts/reduces low frequencies. This is a low shelving filter.

- MID FREQ: adjusts the center frequency.
- MID GAIN: boosts/reduces middle frequencies. This is a wide bell filter.
fig.86 - HIGH GAIN boosts/reduces high frequencies. This is a shelving filter.
- COMP: applies compression.
Slot 2-5:
REVERBERATION AND DELAY

Reverb (figure 87)
Reverb Delay (figure 88)
Ambience (figure 89)
fig.87
8 - SampleTank® multi-effects unit 53

The reverbs included in SampleTank add reverberation and ambience to the
sound, creating spatial depth from large halls to small rooms. All the 3
Reverb and Reverb Delay:
- TIME: sets the length of the reverberation.

- COLOR: sets the reverberation tonal character, from dark to bright.
- DENSITY: sets the number of reflections generated by the reverb.
- SIZE: sets the size of the virtual chamber that’s being emulated.
fig.88
- LEVEL: adjusts the mix between dry and wet signals.
Ambience:
Produces a very short reverb, useful for emulating the ambience typical of
small closed spaces, like studio rooms or little concert suites.
- TIME: sets the length of the reverberation.

- SIZE: sets the size of the virtual chamber that’s being emulated.
fig.89 - LEVEL: adjusts the mix between dry and wet signals.
Spring Reverb (figure 90)
This reverb sounds very close to a real mechanical spring unit, with all the
warmth they have but with that typical metallic and resonant vibe. This
reverb is mono.
- TIME: sets the length of the emulated virtual spring, giving shorter or
longer reverb tails.
fig.90 - LEVEL: adjusts the mix between dry and wet signals.
Delay (figure 91)
Delay is an effect that adds echoes to the sound.
- MODE: you can choose from simple mono delay to a sophisticated multi
tapped stereo delay.
- FEEDBACK: sets the number of echoes that the effect produces .
- DELAY: sets the amount of time between the echoes.
fig.91 - LEVEL: adjusts the mix between the dry and wet signals.
- BANDWITH: sets the bandwidth of the echoes, raising the knob will
give a sound similar to one of the old analog or tape delay units.
FILTERS
These effects apply various types of filters to the sound by cutting some por-
tions of the audio spectrum. These are resonant filters, which gives to the
effects a character similar to the one of some old synthesizers.
54 8 - SampleTank® multi-effects unit

Filter (figure 92)
In this filter FX the Cutoff frequency can automatically sweep by the effect
of a built-in LFO. The LFO can sync with the BPM of the song.
- FREQUENCY: specifies the frequency at which the filter begins to atte-

nuate.
fig.92
- RESONANCE: emphasizes the overtones in the region of the cut-off fre-
quency. This gives a particular, vintage character to the sound, espe-
cially if used with 4 pole low pass filter.
- DEPTH: the filter cut off frequency can sweep automatically by the
effect of the envelope of the signal that’s passing through. This control
sets the amount of modulation.
- SPEED: sets the speed of LFO modulation.
- MODE: sets the type of filter. You can choose from various types, low
pass, band pass and high pass. They all are available in three different
slopes, from a very natural and pleasing 1 pole to a “techno” 4 pole.
Envelope Filter (figure 93)
In this filter FX the Cutoff frequency can automatically sweep by the effect
of the envelope of the audio signal passing through it.
- FREQUENCY: specifies the frequency at which the filter begins to atte-

nuate.
- RESON ANCE: emphasizes the overtones in the region of the cut-off fre-
fig.93 quency. This gives a particular, vintage character to the sound, espe-
cially if used with 4 pole low pass filter.
- DEPTH: the filter cut off frequency can sweep automatically by the
effect of the envelope of the signal that’s passing through. This control
sets the amount of modulation.
- MODE: sets the type of filter. You can choose from various types, low
pass, band pass and high pass. They all are available in three different
slopes, from a very natural and pleasing 1 pole to a “techno” 4 pole.
Multi Filter (figure 94)
This is a particular kind of filter where instead of selecting the type of filter
(LPF, BPF or HPF) you can use them all together with independent levels.
- CUT OFF FREQ: controls the Cutoff frequency of the filter.

- RESONANCE: controls the Resonance of the filter.
- DISTORTION: controls the amount of distortion the filter will produce.
- LP GAIN: controls the level of the Low Pass section of the filter.
fig.94 - HP GAIN: controls the level of the High Pass section of the filter.
- BP GAIN: controls the level of the Band Pass section of the filter.
- NOTCH GAIN: controls the level of the Notch section of the filter.
- LEVEL: controls the global output volume of the filter

Wah-Wah (figure 95)
This effect simulates a typical “wah-wah” guitar pedal.
- WAH: sets the cut off frequency of the wah effect. Use it (via midi con-
troller) to manually create wah wah effects.
- AUTO: when turned up the wah effect can work as an auto-wah, moving
fig.95
its center frequency automatically. The movements are detected from
the original signal amplitude.
MODULATIONS
Chorus (figure 96)

Multi Chorus (figure 97)
fig.96
SampleTank® comes with two different types of chorus. The first is a clas-
sic stereo chorus which adds space and depth to the sound. The second is a
special type with a random pitching character. The first gives a sense of
modulation, the second is designed to be less regular and noticeable.
- DEPTH: sets the amount of pitch shifting generated by the chorus.

fig.97 - SPEED: adjusts the speed of the chorus LFOs.
- MIX: adjusts the mix between the dry and wet signals.
Phaser (figure 98)

This entirely analog modeled Phaser recreates the sound of one of the best
known classics of the past.
- RATE: controls the speed of the phaser LFO

- STAGES: selects the number of phase splitters, from 1 to 10. Increasing
fig.98 this value gives a more pronounced phasing FX, lower values give more
subtle effect.
- BIAS: controls the offset of the LFO, you can also use this knob to
manually control the Phaser, setting the DEPTH at zero.
- DEPTH: controls the strength of the LFO modulation. Setting it at zero
the phaser can be manually controlled using the BIAS knob.
- FEEDBACK: controls how much processed signal will be returned to the
input. Rising this value to the max will produce a self oscillation.
- SPREAD: controls the Stereo image of the Phaser. Values near the cen-
fig.99 ter (64) give maximum width.
AM Modulation (figure 99)

FM Modulation (figure 100)
These are two special modulation effects, amplitude modulation (AM) and
frequency modulation (FM). These effects are designed to produce a tonal
character totally different from the original, when applied to a complex
sound. They can replicate the sounds of some synthesis systems like FM or
fig.100

ring modulation.
- CARR. FREQ: this is the frequency of the signal that will modulate in
frequency or in amplitude the original sound.
- MODE DEPTH: this is the amount of modulation applied.
Flanger (figure 101)

fig.101
The Flanger creates a sharper sound by adding a metallic resonance to the
sound (like a jet airplane taking off and landing).
- SPEED: adjusts the speed of the modulations in the flanging effect.

- DEPTH: sets the depth of the flanging modulation.
- LOW CUT: adjusts the flanger response in the lower range of the audio
spectrum. This helps to keep the low end of the sound strong, even after
the flanger.
- MIX: adjusts the mix between the dry and wet signals.
fig.102
Envelope Flanger (figure 102)
This particular kind of flanger has its feedback parameter which is internal-
ly controlled by the envelope of the audio signal.
- RATE: controls the speed of the internal LFO

- ENV. DEPTH: controls the depth of the Feedback modulation by the
envelope of the audio signal.
- FEEDBACK: Controls the nominal amount of signal that is returned to
the input after processing.
PANNING
fig.103
Auto Pan (figure 103)
Autopan automatically moves the stereo location of the sound.
- DEPTH: sets the amount of the effect applied to the sound.

- SPEED: adjusts the speed of the movement of the sound across the ste-
reo field.
Tremolo (figure 104)

fig.104
Tremolo cyclically modulates the volume to create tremolo.
- DEPTH: adjusts the amount of amplitude modulation.

- SPEED: adjusts the speed of the tremolo.
Rotary Speaker (figure 105)
This effect simulates the sound which can be obtained by rotary speaker
fig.105 cabinets.

This is a must for organ tones.
- SPEED: sets the speed of the rotating horns. Organ players often switch
from slow to fast.
- DRIVE: sets the amount of distortion generated by the rotary cabinet.
This overdrive is very similar to that generated by a real tube rotary.
- L)-HI: this is the balance between the low and high rotor.
DISTORSION
Lo-Fi (figure 106)
Lo-Fi degrades the audio-quality to simulate a "Lo-Fidelity" sound. In

SampleTank® this effect is designed to be used as a speaker and cabinet
simulator too.
- NOISE: generates a synthesized noise very similar to that generated by

old equipment.
fig.106 - BANDWITH: sets the “fidelity”. Increasing the value will give a better
sound, decreasing it will degrade progressively the fidelity.
- DISTORSION: dds distortion to the sound. This distortion works at low
levels too.
- STEREO: sets the stereo channel separation. From mono to stereo.
Distortion (figure 107)
This effect simulates the distortion occurring as you raise the gain of an
fig.107 amplifier. Various amplifier models are provided.
- GAIN: this is the amount of gain and gives more distortion as you
increase it.
- SHAPE: different types of amplifiers are emulated here. From solid-
state types to guitar tube amplifiers models. This effect does not
perform cabinet and speaker simulation. This is only the “electronic”
part of an amplifier.
Phonograph (figure 108)
This effect adds disk noises to simulate the sound of music played by vinyls
records on old record players.
- CRACKLE: adjust the amount of crackle from the (virtual) record.

- AGEsets the frequency response of the record player, from narrow to
wide.
fig.108
- Distortion: sets the amount of distortion generated by the record player.
This is a kind of distortion similar to the one generated by worn or over-
used vinyl records.

Crusher (figure 109)
This FX can reduce the fidelity of a signal applying reduction of the sam-
pling rate or bit resolution.
- RESOLUTION: selects the bit resolution of the processed signal.

- DECIMATION: selects the sampling rate reduction factor of the proces-
fig.109
sed signal.
- GAIN: controls the amount of signal that’s sent to the Crusher, useful to
created highly distorted sounds.
- OUTPUT: controls the output volume.
- CUTOFF: controls the Cutoff frequency of the built-in low pass filter.
- RESONANCE: controls the Resonance of the built-in low pass filter.
Overdrive (figure 110)
This entirely analog modeled Overdrive recreates the typical tone of the
best overdrive stomp boxes.
- DRIVEcontrols the amount of signal being sent to the overdrive.

- TONE: controls the Timbre of the distortion, from dark to bright.
- VOLUME: controls the output level of the effect.
fig.110
AMP SIMULATION
Pre Amp (figure 111)

This analog modeled processor emulates the first stage of some of the most
acclaimed tube classic guitar amplifiers.
- MODEL: selects the kind of preamplifier to be emulated. Choices are:

Clean, Brit AC, Mellow, Crunch, Lead1, Lead2, Fuzz.
- GAIN: controls the amount of signal that’s sent to the preamplifier, with
fig.111 Crunch and Lead preamps it gives control over the distortion.
- VOLUME:: controls the output level of the Pre Amp.
Tone Control (figure 112)
A classic tube tone control that recreates the tone shaping stage found on
the best tube amplifiers. Can deliver incredible presence and warmth to the
sound.
- LOW: controls the amount of low frequencies.

- MID: controls the amount of mid frequencies.
fig.112 - HIGH: controls the amount of high frequencies.
- PRESENCE: controls the presence of the sound with a particular analog
“old style” character.
- LEVEL: controls the output level of the Tone Control.

Cabinet (figure 113)
This processor emulates with great accuracy the frequency response of

some of the best guitar cabinets. Extremely useful when you need to add a
‘mid-rangey’ character to every kind of sound without using an equalizer, to
give a more realistic character.
fig.113
- MODEL: selects from various types of Speaker Cabinets. The final posi-
tion is direct, no speaker.
- MIC TYPE: selects the kind of microphone that’s placed in front of the
speaker: Dynamic or Condenser
- MIC DIST: selects the distance between the cabinet and the microphone:
Near or Far.
- MIC POS: selects the positioning of the microphone: In Axis or Off Axis.
MIX/MASTER
Param EQ (figure 114)
A very clean and precise full-digital parametric EQ, you can expect maxi-
mum transparency from this equalizer. Two identical fully parametric
peaking bands are provided.
- FREQ1: center frequency of the first band, range from 20Hz to 18KHz.
- FREQ2: center frequency of the second band, range from 20Hz to 18KHz.
fig.114 - GAIN1: gain of the first band, range +/- 15 dB.
- GAIN2: gain of the second band, range +/- 15 dB.
- Q1: bandwidth of the first band, from 0.1 (very wide) to 8 (very narrow).
- Q2: bandwidth of the second band, from 0.1 (very wide) to 8 (very nar-
row).
Channel Strip (figure 115)
This is the same channel strip that is present, as fixed, in the first FX slot.
fig.115 However it has been placed in the FX list because it can be useful, placed
after some other FX modules, for further processing.
- LOW GAIN: boosts/reduces low frequencies. This is a low shelving filter.

- MID FREQ: adjusts the center frequency.
- MID GAIN: boosts/reduces middle frequencies. This is a wide bell filter.
- HIGH GAIN boosts/reduces high frequencies. This is a shelving filter.
- COMP: applies compression.
Compressor (figure 116)
An ultra smooth compressor, modeled after classic tube units, it can be very
soft and gentle on all types of material.
- ATTACK: controls the amount of time that the compressor takes to react
fig.116

to the audio signal
- RELEASE: controls the amount of time that the compressor takes to
return to normal gain after some compression has occurred.
- DRIVE: controls the amount of signal that’s sent to the unit, therefore
sets the compression.
- RATIO: controls the strength of the compression. Higher values will
result in a more evident effect.
- SPREAD: controls the Stereo image. Turning up this knob the stereo
image will be enlarged. The center position leaves the image unaltered.
Limiter (figure 117)
This is a multi-band analog modeled limiter. Inside there are three separa-
te hard knee compressors for the low, mid and high bands. It can deliver a
very powerful compression to drums kit and loops. The controls of the three
compressors are linked on the interface for simplicity. Compared against the
Compressor the Limiter can deliver a far more aggressive compression-
style.
fig.117
- DRIVE: controls the amount of signal that’s sent to the limiter, therefo-
re sets the compression.
- OVERLOAD: controls the blending between full limiting (fully left) and
full clipping (fully right).
- RELEASE: controls the release time of the three compressors.
DANCE
Slicer (figure 118)
The slicer works by applying successive rhythmic cuts to the sound making
it similar to a backing phrase. It is especially effective on sustained sounds.
- Pattern: sets the rhythmic pattern.

- Depth: adjusts the amount of attenuation (in dB) when the slicer is cut-
ting out the sound.
fig.118 - Envelope: the cuts can be instantaneous or not. This knob sets the slope
of the cuts, from instantaneous to smooth.
8.3 BPM linked effects
All effects which have a tempo function (Delay, Filter, Flanger, AutoPan,
Tremolo, Slicer) can be synced to BPM with their ‘speed’ parameter linked to
the BPM of the sequencer. Therefore these effects can be easily synced with
the composition’s BPM with repetitions ranging from 1/16 to 1/2. To Sync an
effect to BPM simply click on the BPM ON/OFF switch (figure 119).
fig.119

Chapter 9 Automation
9.1 Automating parameters
All SampleTank® 2 parameters can be automated using MIDI CTL. Simply

associate a MIDI CTL (see paragraph 3.9) to the parameter you want to auto-
mate and record a track on the sequencer by drawing or using an external
MIDI controller, on the same MIDI channel of the instrument you want to
control.
Also SampleTank® 2 can be used with standard automation in RTAS, VST®

and AU. Since SampleTank® 2 provides more than 10,000 parameters it’s
not possible to assign them all to the standard sequencers automation.
Only Parts volume, pan and Macros A, B, C, D are controllable via sequencer
automation.
However note that any of the SampleTank® 2 parameters can be automa-

ted via its built-in MIDI CTL function, there are no limitation of any kind to
this.
9 - Automation 63
64 9 - Automation
Chapter 10 Tips and Tricks
10.1 Polyphony and CPU performance
Each SampleTank® module can have a maximum POLYPHONY of up to 256

notes. This sets the maximum number of notes which can be played by the
module and is displayed in the POLYPHONY field (figure 120). The maxi-
mum polyphony of each SampleTank® module can be set by the changing
this number (by click and drag) however it cannot exceed the maximum
fig.120 polyphony your computer can achieve (which is CPU-dependent).
A new instrument polyphony value has been included in SampleTank® 2 in

the MIX window (figure 121). This number allows to limit the polyphony
value of the single instrument overriding (for that specific instrument) the
POLYPHONY settings of the module.
fig.121 As the number of notes playing exceeds this number, a (!) symbol appears
in the polyphony display, indicating an OVER-polyphony has happened (the
(!) symbol will appear also beside the single instrument polyphony num-
ber) . Every time you surpass the maximum number of polyphony notes in
your performance, the oldest note will be cancelled (for example, if you set
32 as the maximum number, when you insert the 33rd note you will erase
the first one).
You can raise the number of notes which can be played by SampleTank®
module by raising the POLYPHONY number up to a maximum which
depends on the CPU load you have (which cannot exceeds 100%). The CPU
load is displayed by opening the appropriate window in all the sequencer.
When CPU usage is close or exceeds 100% you may experience deteriora-
ting performance and interruption of the sound. To avoid this you can sim-
ply lower the maximum number of polyphony notes. To do this, just click
and drag on the current number to reduce it.
10.2 Get the most out of your SampleTank®
- Do not open multiple instances unnecessarily. This increases CPU load.

Use additional modules only after having fully filled the available MIDI
channels in one.
- ASIO cards are strongly recommended to achieve low-latency with near

real-time responses on VST® system.
- When CPU performances is close or exceeds 100% you may experien-

ce deteriorating performance and interruption of the sound. To avoid
this you can simply lower the maximum number of polyphony notes. To
get the most out of SampleTank® a more powerful CPU will allow you
to play more instruments with more polyphony.
10 - Tips and Tricks 65

- It is a very good idea to limit the polyphony of instruments which do not
need it. A typical case is a drum kit that is playing a ride cymbal. The
sample of the cymbal could be long, say, 20 seconds so if the midi part
triggers the cymbals 4 times a beat it will result in some second that
this part is requesting from the engine 20, 30, 40 voices of polyphony,
which is completely useless. In these cases the PART polyphony value
(MIX area) will allow for reducing the polyphony of the drum kit to, say,
8 – 10 notes, leaving room for those instruments that really needs a lot
of polyphony.
66 10 - Tips and Tricks

Chapter 11 Support
For any question you may have please refer to the FAQ at:
http://www.SampleTank®.com/FAQ.html
where you'll find answers to the most common questions.
For free support write at:

support@sampletank.com
11 - Support 67
SampleTank® is a registered trademark of IK Multimedia
http://www.ikmultimedia.com
Via dell’Industria 46 - 41100 Modena Italy
tel +39-59-285496 fax +39-59-2861671
ikm@ikmultimedia.com
©2001-2003 IK Multimedia Production
All other trademarks are property
of their respective owners.
M U S I C I A N S F I R S T
SampleTank® is a trademark of IK Multimedia

www.ikmultimedia.com
www.sampletank.com
IK Multimedia Production
Via dell’Industria 46 - 41100 Modena Italy
tel +39 059 285496 fax +39 059 2861671
info@ikmultimedia.com
All specifications are subject to change without further notice.
©2001-2003 IK Multimedia Production

All other trademarks are property
of their respective owners.

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

SAMPLETANK® IS A REGISTERED TRADEMARK OF IK MULTIMEDIA.

III License and copyrights pag. 12

Chapter 1 SampleTank® pag. 14

Chapter 2 Using SampleTank® pag. 19

Chapter 3 Controlling SampleTank® pag. 23

Chapter 4 Organizing your instruments pag. 33

Chapter 5 SampleTank® save function pag. 37

Chapter 7 SYNTH-SAMPLER section pag. 47

Chapter 8 SampleTank® multi-effects unit pag. 53

Chapter 9 Automation pag. 63

Chapter 10 Tips and Tricks pag. 65

Chapter 11 Support pag. 67

4) DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS

12 III License Agreement

10) CHOICE OF LAW

IK Multimedia Production srl

III License Agreement 13

SampleTank® is a revolutionary sample-workstation which combines 3

No other hardware or software synth/sampler lets you browse through

Just plug and play!

1.2 What is SampleTank®

SampleTank® is a polyphonic, multitimbral, sample-workstation with

To use SampleTank® you’ll need a MIDI sequencer compatible with plug-

1.3 What’s new in SampleTank® 2

Loops become playable instruments

Easy to control 50 parameters synth

16 layerable multitimbral parts

Save and exchange song data using the same sounds

Instantly compatible with every platform

Summarized here are SampleTank®’s 2 main features:

- 16 parts multitimbral sound module with layerable parts.

Launch Cubase™. Open the VST Instruments Panel by pressing F11 or by

2.2 Starting SampleTank® in Logic™ Audio

16 parts multitimbral usage in Logic:

2.3 Starting SampleTank® in ProTools®

As SampleTank® 2 is an RTAS plug-in it can be inserted into Audio tracks

2.4 Starting SampleTank® in Digital Performer

2.5 Starting SampleTank® in Sonar®

The selection and loading of instruments has been greatly enhanced in

The available instruments are displayed at the center of the SampleTank®

fig. 3 To load an instrument in SampleTank® simply double-click on it. It will be

The MIX window (figure 5) allows you to load up to 16 SampleTank®

One or more pre-defined effects will be loaded and displayed in the

Here you have several controls at your disposal:

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

In monophonic with legato (LEGATO) it is possible to control the PORTA-

3.4 SYNTH-SAMPLER section

Envelope 1 Amplitude (Volume) envelope controls.

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

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

You can edit all instruments parameters in the SYNTH-SAMPLER section by

All SYNTH-SAMPLER parameters can be controlled through MIDI control

For more information about SampleTank® 2 SYNTH SAMPLER section see

3.5 EFFECTS section

Each SampleTank® 2 instruments can be programmed with 5 effects each.

As with the sound parameters, effect parameters can be controlled through

3.6 MINI Keyboard

3.7 ZONE control

In SampleTank® 2 syncing loops to the sequencer tempo or syncing various

It’s important to know that to perform LOOP SYNC, SampleTank® 2 must

A 3-digit number either in the name or in the keywords will be considered