You should be.
I've spent the last few days working within Samplitude Pro X Suite, and it is simply fantastic.
Those of you who follow the general mindset that all DAW's are the same should give this program a try.. because once you do, you won't think that way anymore.
I've been using Sonar for a hundred years now, I started using Cakewalk Pro back in the mid 90's when I was doing quite a bit of MIDI production and at that time, Pro Tools was shaky on the integration of audio and MIDI. In fact, my engineering peers at that time who used PT had to also use Digital Performer just so that they could work on the midi end of their productions.
I went with Sonar because it did integrate audio and midi very well. As the years went by, I got to know it inside and out. I also continued to work with PT quite a bit as well, because I had clients who had projects in that format, who would bring their tracks in to me to either mix or add tracks to.
Several months ago, I decided to give Samplitude a try. There was a thirty day trial period, so I figured I had nothing to lose.
What I didn't realize at that time was that besides having nothing to lose, I had everything to gain.
I decided to do an apples to apples comparison.
I took tracks - exactly the same tracks - and imported them into Sonar, PT, and Samplitude.
The difference was like night and day.
In comparison, here is what I found:
Sonar "does something" to the audio... and not in a good way. I don't know what it is technically, but I can tell you that the result is a "smeared" and "phasey" sound..
Pro Tools wasn't much better, except it seemed that I needed to use more of a particular processor (stock PT Plugs) to get the desired results I was seeking... so if I wanted to add sparkle on top, I needed to add more of the desired frequency range than I did in Samplitude.
When listening in Samplitude, the difference was immediate - as if someone had flipped some kind of "sonic truth" switch. The audio was crystal clear, defined, tight... imaging was beautiful.
It is incredibly accurate, sonically tight, defined - and without adding the "clinical sterility" that I've experienced in PT.
(Sonar didn't add any of this sterility, in fact, it went the opposite direction and added smeared frequencies, and overall sonics were ill-defined. Imaging was also smeared...)
(I know I keep using that word but it's the only descriptive term I can come up with that describes what I'm referring to)
I have no idea as to why this is...whether the difference is in the coding, or the architecture of the busing, or what... I don't know enough about the technical side of program development to know "what" code can cause "which" issues.
All I can say is that since I began working with Samplitude, it's as if someone "cleaned" my audio playback with some kind of "sonic Windex"... LOL... I think Tim Dobear from Magix described it in similar fashion when he was trying to explain the differences between Samplitude and other DAW's to other engineers who were skeptical.
This is not the result of a suggestive psychology, it's not a "placebo".
The difference is there. It's true, and I'm here to tell you that it most certainly is very real.
I'm not trying to sell anyone anything. I don't work for Samplitude, I get no commissions from them... and neither Sonar or Avid has done anything to me personally to make me turn against them out of spite.
This is strictly about the quality and accuracy of audio, and the power and efficiency of the programs that help us to achieve what we want as engineers.
I would suggest that anyone who doesn't believe me take Samplitude for a test drive.
http://pro.magix.com/en/Samplitude/overview.459.html
Yes.. okay... there's a learning curve... as there is with any new platform. But those of you who are experienced with DAW-based production shouldn't have any trouble getting used to it after a few days. Also, the internet is filled with great instructive how-to videos for Sampitude.
So far customer service has been fantastic. Queries are answered within minutes, problems solved in a very respectable time span. Go ahead and tell me truthfully that you've had the same experience with Avid. ;)
Also, the stock plugs and processors are fantastic. Also included are many VSTi's, one of which has really impressed me - Vandal - which is a guitar amp/cab simulation, with a full range of foot-pedal/stomp box effects. The modeling in this VSTi has really impressed me, and that's not an easy thing to to do, considering that for the most part, I pretty much HATE all guitar amp sims. LOL
But Vandal is pretty sweet. As of this writing, I have yet to open or experiment with the other VSTi's that come with the package... there's a whole collection of synths I haven't even opened yet.
Great sounding Reverbs, Delays, Compressors, Limiters, BSC, vintage processing emulation... is all included in this package, and all of these processors were coded for this platform.
Based on what I've experienced thus far, I'm fairly confident that I can get rid of pretty much all the plugs/processors that I've accumulated over the years... and that includes libraries like Voxengo, Waved Diamond, Blue Cat, etc. I simply don't need them anymore.
That's it... you can believe me or not, I understand your potential skepticism... as I used to be quite the skeptic myself in terms of DAW platforms and "differences".
But I urge you to give this program a try.
PT has become the standard in digital audio production... but it shouldn't be.
It should be Samplitude. There's simply no comparison in terms of quality, fidelity, processing and efficiency.
FWIW
d/
Comments
audiokid, post: 422634, member: 1 wrote: (NOTE: I'm not in my mu
audiokid, post: 422634, member: 1 wrote: (NOTE: I'm not in my multitrack studio now to test this)
I'm not quite following you here most likely because I've not tried to record into a subgroup. Just a guess, Subgroups bypass the AD or midi input as it can contain multiple tracks bused into it. Just curious, when trying to record into a bus, is the input AD the same as the pre assigned to it?
... sorry... I didn't address the first part of your response...
The process I am describing is internal to the DAW. the signal does not traverse any D/A or A/D. It is quite common among various DAWs to be able to send signals to a channel and record them internally. I just haven't figured out how to do so with Sequoia - likely to be pretty obvious once I know how :-)
So, it seems that this cannot be done in real-time with Samplitu
So, it seems that this cannot be done in real-time with Samplitude/Sequoia. Rather it must be done offline using 'Track Freeze' to sequentially freeze first the stems. then the master track, then the 'mastered' track. No problem, just a different perspective. The primary thing I need from Sequoia is the pristine sonics and the VCAs, and those, it delivers in spades.
rjuly, post: 422656, member: 48681 wrote: ... sorry... I didn't
rjuly, post: 422656, member: 48681 wrote: ... sorry... I didn't address the first part of your response...
The process I am describing is internal to the DAW. the signal does not traverse any D/A or A/D. It is quite common among various DAWs to be able to send signals to a channel and record them internally. I just haven't figured out how to do so with Sequoia - likely to be pretty obvious once I know how :)
Gotcha,
I don't want to confuse you but I'm pretty sure its simpler than what you are doing right now.
I do this with VST's and audio.
Explaining this is going on memory and a different workflow but I'm thinking all you do is disable the output of the "Master Bus " Master Inactive".(I use two DAW's ( One with the Master Bus always Inactive) so you might have to get creative with my process. At least you know its possible.
When the Master bus is Inactive... the channel routing is more fluid. Once the Master Bus is Inactive, you should be able to assign existing track(s) to a destination input channel and record it internally.
I do this all the time with VSTi's and audio tracks that I am layering or replacing.
Maybe this will help: NOTE: when the Master Bus is inactive: an
Maybe this will help:
NOTE: when the Master Bus is inactive: and you are attempting to Export a track or song (CTRL+E) will produce an empty track. In other words, a track will appear to be Exporting but will always be empty on playback.
This is related to what you are wanting to do, but backwards. What I mean here, I believe you may need to make the Master Bus Inactive so the internal audio can be recorded internally.
Hope that helps.
Ok, I have been using Sequoia now for about three weeks, and hav
Ok, I have been using Sequoia now for about three weeks, and have only just begun scratching the surface. This software is no joke. It has its own clearly defined workflow and is not as flexible as some other DAWs, like Reaper, but the workflow, although rigid, is very, very well thought out. Most of all it sounds excellent. Let me just repeat that... IT SOUNDS EXCELLENT!!! The soundstage is wide-open and the image precise and coherent. I just didn't realise how open and coherent the others weren't, until I heard it. The sonic difference is marked with Reaper and Logic Pro X, and marginally better than Pro Tools (which I hate for other [corporate facist] reasons, and also it's just not as good). The object oriented architecture gives you crazy, crazy amounts of control, without being unwieldy. It gives full feature-set control of every single separate audio clip object if you want it, in an ergonomic interface. It's even worth having to run it on windows OS, and I don't say that lightly. All in all, a premium product, in fact the best I have ever used. It does have a steep learning curve, and will not appeal to those are not willing to take some pains over learning its intricacies, and are willing to conform to its workflow, but if you care about pristine sound and yearn for a professional grade toolset, this DAW delivers in spades. The great thing is that Samplitude delivers the same exact quality with a slightly reduced feature set, at a greatly reduced price.
rjuly, post: 423237, member: 48681 wrote: I just didn't realise
rjuly, post: 423237, member: 48681 wrote: I just didn't realise how open and coherent the others weren't, until I heard it.
Indeed.
A pleasure having another user standing here. And I just posted the upgrade to Sam pro x suite and you popped in so how coincidental but welcoming.
One of the biggest pains for me is comparing my experiences, knowing how well this product sounds, how awesome the plug-ins are, and as you mentioned, the object editing is really nothing short of brilliant! I feel pain hearing what people are doing and spending on other platforms. Its hard keeping my mouth shut really. Even my experiences with hybrid compared to the other DAW's, this system was meant to integrate like a console!
Sequoia as a capture DAW is absolutely the Bomb.
Its expensive but the cost for all good gear, top level products always are. But, we usually end up learning more and saving money in the end with gear that works. This DAW is leading, not following or posing as the alternative budget. This software is all I need. Rock on Magix!
Nice to hear your praise. Don't worry about over doing it either, and you are welcome to invite more Sampliquoiers . We're on the move to make audio better sounding.
rjuly, post: 423237, member: 48681 wrote: It does have a steep l
rjuly, post: 423237, member: 48681 wrote: It does have a steep learning curve, and will not appeal to those are not willing to take some pains over learning its intricacies, and are willing to conform to its workflow, but if you care about pristine sound and yearn for a professional grade toolset, this DAW delivers in spades.
I strongly suggest that you check out videos by Kraznet on YouTube. His videos are clear, concise, and have helped me countless times in understanding many aspects of the platform.
To date, I have yet to find any Sam subject left uncovered by him. He's a mountain of knowledge, and the way he explains things is fantastic.
Here's a sample... one suggestion, he was making many of these videos back when S11 was popular, so you might want to temporarily change your menu layout to that of 11, it makes it easier to follow his instructions.
In fact, I'll post the link to the directions on how to do that first:
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Here's the example... I just started with Fundamentals Part 1 so you could see how intuitive he is:
=tkWPzcX0Kbk;list=PLD6E5E2507875724E
[[url=http://="
&index=1&list=PLD6E5E2507875724E"]View:
&index=1&list=PLD6E5E2507875724E[/]="
&index=1&list=PLD6E5E2507875724E"]View:
audiokid, post: 423240, member: 1 wrote: @rjuly, Do you have th
audiokid, post: 423240, member: 1 wrote: rjuly,
Do you have the current upgrade which includes / replaced the parametric EQ for the EQ116 on the channel strip? I thinks its just been released for Sequoia 13.
I have Version: 13.0.1.30 which is the older version.
I have the same version 13.0.1.30. I will certainly be checking for that update this evening! Thanks.
Question about VCAs. My understanding is you can assign a VCA ch
Question about VCAs. My understanding is you can assign a VCA channel (not a regular audio channel acting as VCA master) to another dedicated VCA channel as its slave. I have done so, but when I mute the master, it does not mute audio on the slaves, although the mute buttons on the slaves do go on. Do I perhaps have some arcane setting set incorrectly?
DonnyThompson, post: 423252, member: 46114 wrote: I strongly sug
DonnyThompson, post: 423252, member: 46114 wrote: I strongly suggest that you check out videos by Kraznet on YouTube....
Yes, I have been looking at them since before Sequoia arrived (the only way I could stand the wait...); excellent resource, and there are not many others. It's great how calm and measured his delivery is - chills you right out so you can pay attention. Personally I have no issues with the learning curve - you get out what you put in... I was just making the point that Seq/Samp are not for the faint of heart. I appreciate the efforts that you and everyone else has made to light the darkness... World needs way more of that.
rjuly, post: 423269, member: 48681 wrote: Question about VCAs. M
rjuly, post: 423269, member: 48681 wrote: Question about VCAs. My understanding is you can assign a VCA channel (not a regular audio channel acting as VCA master) to another dedicated VCA channel as its slave. I have done so, but when I mute the master, it does not mute audio on the slaves, although the mute buttons on the slaves do go on. Do I perhaps have some arcane setting set incorrectly?
*Bump* - Any thoughts on this?Should the slaved VCA channels not be muting their dependent tracks when their master gets muted?:
VCA MSTR [mute button clicked]->VCA DRUMS[mute indicator active]->Audio channel Snare TRACK[not muting] but...
VCA DRUMS[mute button clicked]->Audio channel Snare TRACK[mutes]
rjuly, post: 423378, member: 48681 wrote: *Bump* - Any thoughts
rjuly, post: 423378, member: 48681 wrote: *Bump* - Any thoughts on this?Should the slaved VCA channels not be muting their dependent tracks when their master gets muted?:
Can mutes be assigned the same way volume, panning automation is assigned per track or group?
audiokid, post: 423388, member: 1 wrote: Can mutes be assigned t
audiokid, post: 423388, member: 1 wrote: Can mutes be assigned the same way volume, panning automation is assigned per track or group?
I haven't seen any 'mutes' parameter for automation. Maybe mutes are considered volume in a sense. The VCAs are not directly associated with automation per se, but they can be automated. When I assign a track to a VCA channel and click the mute button the track mutes, as you would expect. When I assign that VCA channel to another VCA channel and mute the second VCA channel, the mute shows on the first VCA channel, but it does note mute the child audio track. Try it, and see if you get the same behavior...
audiokid, post: 423409, member: 1 wrote: I am having problems up
audiokid, post: 423409, member: 1 wrote: I am having problems updating as well. I think there is an update bug that isn't allow the New VIP templates to update. Its been suggested I contact support.
Curious, what EQ in on your Channel strip? Is it the EQ116 or the Parametric?
I have the parametric. Have you seen any actual indication of an update online, A link or entry in the support downloads?
Hear it for yourself. Fully functioning 30 day trials are availa
Hear it for yourself. Fully functioning 30 day trials are available for download.
audiokid, post: 423466, member: 1 wrote: version 13.0.1.30 is th
audiokid, post: 423466, member: 1 wrote: version 13.0.1.30 is the latest. Its a bug then. When its updated or I find the solution I post here.
Hi all! Samplitude/Sequoia lover here!
There is a new version released. This is the update file:
Samplitude Pro X2 Suite
Version: 13.1.1.162 | Filesize: 48.52 MB
Many bugs were fixed!
Chris Perra, post: 418057, member: 48232 wrote: I'd say Cubase o
Chris Perra, post: 418057, member: 48232 wrote: I'd say Cubase on a pc is the daw of choice as far as plug in integration. There have been many times when Uad worked on that platform and not on a Mac or Protools at first.
Although they discontinued DX plug ins a few years ago. Cubase had some problems with 32 bit plug ins running on 64 bit platform. They have that worked out now though.
Testing tracks between Cubase 7 and the Samplitude demo not running any plug ins just straight audio.. which was tracked in Cubase.. I noticed Cubase had a louder playback than Samplitude by a few Db.. Samplitude has 180 notches of pan vs 200 in Cubase and rendering the same song Samplitudes version was 1.04 db louder..
They sounded super close.. Samplitude had a slightly tighter bottom end like they roll of around 35 to 39 hz a bit.. Cubase was a bit more fluffly in the bottom end but was almost matched with a high pass around 38 hz. That bass difference made Samplitude seem a tiny bit clearer and cleaner in the top end as well.
I recorded a 22 track aucustic African drum orchestration in Cubase 6.5 (I now have Pro 8). I had to stack plugins everywhere , to get the sound right. I was ready to work on the mastering, so I got Wavelab. In my search and research on Wavelab (which I love ), I stumbled onto Samplitude . . . I prefer the idea and concept of Sam . . . I was so intrigued . . .
I ended loading the whole Omf into Sam , and plunged into a remix ! & I was already very happy with the mix in Cubase, but the remix in Sam really drew me in. In Sam , I would add a plugin, and then remove it , again and again . . . The sound just kept getting better and better as the mix took shape, and I found that simple,subtle tweaks of the built-in eqs ,
and faders. . . Night and day . . . I love Cubase, and I know that it is very good at a great many things , but Sam's Audio engine and summing algorithms, ect. . . . Sam's audio environment is where my projects must pass through. I know I can do great things in Cubase & Wave Lab.
I also know that my acoustic projects will be done in Samplitude from start to finish, from now on :-)
New update! Samplitude Pro X2 Suite Version: 13.1.2.174 | Files
New update!
Samplitude Pro X2 Suite
Version: 13.1.2.174 | Filesize: 59.24 MB
Menu style v11 works fine again! Other important bugs were fixed and it seems to be a very stable build.
Here is the complete changelog in Update v13.1.2.174:
Mixer/FX/Instruments
Supplied Vita instruments might ask for activation on systems with dongle - fixed
AUX sends and new default EQ116 were calculated despite mixer FX bypass - fixed
Wrong status line display during plugin selection - fixed
Wrong caption of VST3 plugins - fixed
User defined VST path wasn't used for VST3 - fixed
No undo step for reset mono/stereo - fixed
Advanced Dynamics: reduction display didn't work - fixed
Hardware Controller
No update of display after saving a setup with different name - fixed
GUI
Problems with touch displays
Not all touch events were detected correctly - fixed
On-screen keyboard could be shifted by touch - fixed
"Menu v11" didn't work anymore - fixed
General
Several adaptions for Alesis V49 keyboards
Select "V49" as MIDI input device
Supplied Vita instruments will use controller 20-24 (knobs 1-4)
Button 3+4 (controller 50+51) will step to previous/next preset while plugin dialog is open
Hardware controller setup for simple control of transport and mixer
A little example for using the drumpads can be found in _DemoAlesis V49 Drumpad Demo
Attention: V-Editor for V49 configuration should be set to "MIDIIN2 (V49)"
Incomplete time edit fields - fixed
No error message with invalid folder names when creating a new folder - fixed
No overwrite warning when saving a project immediatedly after creation - fixed
"Insert silence" was applied twice in wave projects - fixed
Several crash fixes
ChrisH, post: 428638, member: 43833 wrote: If I compared a stere
ChrisH, post: 428638, member: 43833 wrote: If I compared a stereo render of raw unprocessed tracks in Cubase 7 vs Samplitude, will I hear a difference just from the audio engine? Like Chris Perra said
Sam/ Seqioua 13 was enough of a game changer for me that I have now sold all my hardware I used for mixing and mastering. You should download the 30 demo and see for yourself. We all have our reasons. The workflow to this DAW is pretty different and the learning curve is a big one too.
ChrisH, post: 428638, member: 43833 wrote: If I compared a stere
ChrisH, post: 428638, member: 43833 wrote: If I compared a stereo render of raw unprocessed tracks in Cubase 7 vs Samplitude, will I hear a difference just from the audio engine? Like Chris Perra said
Chris ,
I believe it depends much on the nature of the project. I have been going crazy , trying to tell my friends and colleagues about Samplitude , and they mostly think that I am either a crazy fanaddict, or that I am trying to sell them Samplitude as some kind of pyramid multilevel marketing scheme; and I have reassure them that , "No , I do not work for Samplitude" . . . I am just seriously freaked out by how good it really is ! lol ! In truth , when I recorded just a few parts in Cubase, I really could not tell as much of a difference ( although their was one ). If you work mostly with Vsti's , Midi, and just a few vocals, Cubase is definitely the way to go (Although I would still mix and master in Samplitude, imho). Great work is done daily in Cubendo and Wavelab ( Great programs ). But , it is when I recorded layers upon layers of acoustic percussion instruments , that I noticed the Dramatic difference. Ah , the headroom , the clarity, the natural blending of the harmonics, the space , the breath . . . Yes , you will hear Sam users "waxing poetic" about the euphoria of the pristine hybrid audio engine, and the mastering quality plugins that come stock with the program. This is true ;-)
To me it is very telling that Cubase's demo is a synth midi composition , and Samplitude's demo is a full acoustic orchestra. They are both being very honest about their focus and the focus of their technical origins. Cubase's audio engine is supremely engineered for electronics, sytnhs, & midi , ect. , & for acoustic audio, they are also as good as most. Samplitude's audio engine is supremely engineered for acoustic orchestras, and yet it handles midi and vsti's as well as most. I am sure that your mics, pres, and converters are so good , that any daw would do for you. I would suggest , perhaps, doing a project from start to finish in Samplitude, and see if it is more than a placebo effect for you. I suspect that most Sam users enjoy the "Best Kept Secret" mystique about this daw . . . & yet I also feel that the World should know ;-)
audiokid, post: 428647, member: 1 wrote: Sam/ Seqioua 13 was eno
audiokid, post: 428647, member: 1 wrote: Sam/ Seqioua 13 was enough of a game changer for me that I have now sold all my hardware I used for mixing and mastering. You should download the 30 demo and see for yourself. We all have our reasons. The workflow to this DAW is pretty different and the learning curve is a big one too.
Really, Truly , the dream of the all-in-one solution for composing, recording, mixing, mastering, and CD authoring, with minimal hardware . . . Samplitude/Sequoia 13 . . .
. . . A few good mics and a decent audio interface , & my mobile commando recording rig is in a constant state of Bliss . . . ; ~ )
It took me quite some time to really get comfortable with it, be
It took me quite some time to really get comfortable with it, because as Chris mentions, it is pretty dense, with so many features, that it does create a learning curve that is perhaps steeper than other platforms - but after having used it now for 9 months exclusively, there's no way I'd ever go back to Sonar or PT, or to any other platform.. and I say that as having had experience with Sonar, Pro Tools, StudioOne, FL, and Harrison Mixbus ( although it's not really fair to compare any of those platforms - including Samp - to MixBus because MB is it's own thing, and designed as more of an analog desk mixing work flow.)
There are a series of instructional how-to vids on YouTube by Tim Dolbear ( TimDolbear ) as well as from a veteran Samplitude user named Kraznet. These guys knows more about Samplitude than anyone else I know, and their videos were essential in helping me to understand particular features and tasks for the program. But... once I started to get it, I was wowed by this platform.
The object-based editing feature is in itself worth the price. Seamless integration with midi and VSTi's, a very solid pitch correction built right in ( Elastic Audio - which I've heard has gotten even better in Pro X 2), and signal processing that is incredibly reactive, effective, accurate, and capable of handling virtually any task. And, if you prefer to also use Third Party VST's (Waves, T-Racks, Steinburg, Slate, etc.,) Sam provides a rock-solid integration with them.
I've yet to have any problems whatsoever with using Third Party plug-processors.
It will even load older 32 bit plugs, if you have some that you like.
I've been asked if I heard an actual difference between Sam ( I have Pro X Suite) and my previous platforms, (namely Sonar PE and PT ), and I can tell you that - without a doubt - Sam sounded substantially better when doing nothing more than simply loading up raw audio tracks and A/B'ing them between the programs. For example, Sonar had been adding some phasing issues, a "smear" of sorts, the result of which being that it had been skewing the accuracy of the sonics.
I just didn't know it - until I had the chance to compare them. In fact, the difference between them was so substantial, that when I referenced these same tracks in Sam, I was able to hear actual performance issues that I hadn't been able to hear previously in Sonar.
ChrisH, post: 425549, member: 43833 wrote: Let's hear the difference!
Believe me, don't believe me, it doesn't matter to me. I don't work for Magix, there is absolutely no benefit to me in any way, whether you decide to go with Samplitude or not. I'm just telling you about my own personal experience.
Instead of trying to get others to present you with comparisons, or to convince you, why not just find out for yourself? After all, wouldn't that really be the best way?... working on your own material, through your own equipment?
It's pretty easy. ;) Simply download the fully functioning, 30 day free trial. And watch some of those instructional videos on YouTube by Tim Dolbear and Kraznet, because you'll have questions, and there will be things you won't understand right away.
http://www.magix.com/us/samplitude/
FWIW
d.
Well, after reading all the testimonies of this topic, I felt th
Well, after reading all the testimonies of this topic, I felt the duty to contribute with my humble one. My english is very poor and limited, I would like to write a lot of interesting experiences, but I'll be able to write just a few...
I use Samplitude (and, sometimes, an old version of Sequoia) for MASTERING purposes only.
Formerly I used to use Sony Sound Forge, but I felt a need for, say, vitaminize even more my CD compilation projects. Even using all elite plugins (Waves, T-Racks, and so on ...), I did not feel happy.
Sound Forge is an excellent program, I can not - ever - doubt it, but it was as if something could be different and better. I felt the need to change because, deep down, I was not very happy with the final results neither the work flow.
I tried other tools, but when I came across the Samplitude, my impression was that it was a tool for audio recording and mixing only, nothing more.
What a mistake! Samplitude exemplary covered all my needs! The first time I carried an audio file inside it, I could felt its power. Everything sounded different ... and better! Without any third-party plug-ins!
I use and know very well Sequoia and Samplitude. And, as [="https://www.gearslutz.com/board/5037150-post83.html"]Tim Dolbear use to say[/]="https://www.gearslu…"]Tim Dolbear use to say[/], "Sam Pro has 96% of Sequoia in it, and for most users, it does all you need from start to master. I have been using Sam for 6 years, 8+ hours a day and still I am just blown away. I fully believe it sounds cleaner, less blur and more detailed compared to Logic and PT which we have here too." Samplitude / Sequoia are all-in-one that any music lover needs. So, it's no exaggeration to say that they are the true Kings of the DAWs.
[[url=http://="http://www.digido.c…"]Bob Katz - the 'Master of Mastering' - uses Sequoia[/]="http://www.digido.c…"]Bob Katz - the 'Master of Mastering' - uses Sequoia[/].
You can be happy with any tool that best suits you. I am very happy with Samplitude.
ChrisH, post: 428638, member: 43833 wrote: If I compared a stere
ChrisH, post: 428638, member: 43833 wrote: If I compared a stereo render of raw unprocessed tracks in Cubase 7 vs Samplitude, will I hear a difference just from the audio engine? Like Chris Perra said
To rephrase my response :
Yes ! You will hear a big difference.
If you then fully engage in a remix you should soon discover the beauty of that difference :-) Imho
:D:love: If you want a direct link to download Samplitude,here i
:D:love:
If you want a direct link to download Samplitude,here is Tim RO Resource page.
http://recording.org/resources/samplitude.14/
25 Years Samplitude – Happy Birthday Samplitude, the successful
25 Years Samplitude – Happy Birthday
Samplitude, the successful Digital Audio Workstation, has turned 25 and MAGIX is celebrating this occasion with many [="http://www.magix.com/gb/samplitude/upgrades/crossgrade-samplitude-pro-x2/"]incredible offers[/]="http://www.magix.co…"]incredible offers[/].
Samplitude’s success story began in the summer of 1986 with two visionary Computer Science Students of the Dresden University of Technology in the GDR. Titus Tost and Tilman Herberger met while working at the Electronic Sound Production Studio of the Dresden College of Music. Limited budgets, the college’s conservative orientation, the fact that some hardware was only available to West Germans and the GDR’s slow and stagnating economy all hindered innovation in the field of electronic music production. Thus, the studio started with only two borrowed DX7 synths and a Commodore C64.
Under these special circumstances, the two students began programming MIDI software. This way they were able to focus on creating products with innovation at the very center – a principle that is shared across all Samplitude generations, beginning with the first lines of code in April 1990.
The first market-ready version of Samplitude was finished in 1992 and took the form of a sample editor with up to 28-bit audio processing for the Amiga platform. The first version for PC was released two years later. Samplitude’s codebase continued to evolve over the years and supplied the foundation for Sequoia, which was released in 2000. This high-end broadcast and mastering solution was used for the production of a total of 7 Grammy winners in 2015 alone and demonstrates MAGIX’ superiority in the audio sector.
The newest version, Samplitude Pro X2, is available since December of last year and sports impressive features such as VCA faders, free plug-in routing, zplane time stretching technology as well as countless new instruments.
Samplitude’s birthday will be celebrated by MAGIX with several [[url=http://="http://www.magix.co…"]special promotions[/]="http://www.magix.co…"]special promotions[/]. For a limited time only, Samplitude Pro X2 will be available for a price of £149 instead of the regular price of £406.80. Special deals in cooperation with hardware manufacturer Alesis will top off the celebration. This gives everyone the opportunity to use one of the most powerful DAWs and high-end hardware bundles to produce music at an unprecedented level.
Source - http://magazine.magix.com/en/25-years-samplitude-happy-birthday
The new Samplitude Pro X2 stands for excellence and technological precision. New high performance algorithms and optimized workflows combine with inspiring tools for creative music production in both small and large studios.
Read more: http://www.magix.com/gb/samplitude/upgrades/crossgrade-samplitude-pro-x2/
DigitaLWizarD, post: 428693, member: 48955 wrote: For a limited
DigitaLWizarD, post: 428693, member: 48955 wrote: For a limited time only, Samplitude Pro X2 will be available for a price of £149 instead of the regular price of £406.80.
DigitaLWizarD TimDolbear audiokid
What's the difference between Pro X 2 and Pro X 2 Suite? Is it the added synth libraries?
If I upgrade from the older Pro X Suite to Pro X 2, will the synth library I got with Pro X Suite be recognized and useable in Pro X 2? Or do I need to upgrade to Pro X 2 Suite?
Pro X2 Suite is much closer to Sequoia than "basic" X2. Suite h
Pro X2 Suite is much closer to Sequoia than "basic" X2.
Suite has about 96% of Sequoia in it!
Advantages in Samplitude Pro X2 Suite:
• Analogue Modelling Suite Plus (AM-Munition, AM-Phibia, AM-Pulse, AM-Track)
• Independence Sampler with a 70 GB library
• Cleaning & Restoration Suite incl. Spectral Cleaning dialog (real-time effects for the restoration: DeClicker/DeCrackler, DeClipper, DeNoiser, Brilliance Enhancer and Spectral Cleaning dialog)
• Vandal full version (Virtual guitar & bass amplifier)
• Four additional virtual instruments (an additional 4 Vita instruments)
• Loudness metering EBU R128 (Loudness meter compact R 128)
• True Peak Limiter for sMax11 (The maximum true peak level can be selected as a clipping threshold that is set in the Loudness normalization. In this way the sMax11 can be expanded to include the True Peak function as defined by the ITU-R BS.1770)
For upgrading, I don't know answer your question, sorry, but I believe it's not possible to keep old features from an old Suite version to a new "basic" one...
It's what makes sense, at least: from an old Suite, to a new one; from an old "basic" X2 to a new "basic" build. So, to keep your features intact, it seems that you'll need to upgrade your old Suite to a new one.
I believe it's not possible to upgrade between different "editions".
DigitaLWizarD, post: 428705, member: 48955 wrote: Pro X2 Suite i
DigitaLWizarD, post: 428705, member: 48955 wrote: Pro X2 Suite is much closer to Sequoia than "basic" X2.
Suite has about 96% of Sequoia in it!
Advantages in Samplitude Pro X2 Suite:
• Analogue Modelling Suite Plus (AM-Munition, AM-Phibia, AM-Pulse, AM-Track)
• Independence Sampler with a 70 GB library
• Cleaning & Restoration Suite incl. Spectral Cleaning dialog (real-time effects for the restoration: DeClicker/DeCrackler, DeClipper, DeNoiser, Brilliance Enhancer and Spectral Cleaning dialog)
• Vandal full version (Virtual guitar & bass amplifier)
• Four additional virtual instruments (an additional 4 Vita instruments)
• Loudness metering EBU R128 (Loudness meter compact R 128)
• True Peak Limiter for sMax11 (The maximum true peak level can be selected as a clipping threshold that is set in the Loudness normalization. In this way the sMax11 can be expanded to include the True Peak function as defined by the ITU-R BS.1770)
For upgrading, I don't know answer your question, sorry, but I believe it's not possible to keep old features from an old Suite version to a new "basic" one...
It's what makes sense, at least: from an old Suite, to a new one; from an old "basic" X2 to a new "basic" build. So, to keep your features intact, it seems that you'll need to upgrade your old Suite to a new one.
I believe it's not possible to upgrade between different "editions".
I started with Samplitude Pro X, then I upgraded to Pro X Suite, and then Pro X2 Suite. There are discounts and promotions to be found for the upgrades. Check with Magix, Front End Audio, and others.
Another great new feature is opening new projects as tabs ! . . . Just like a web browser. Wavelab has this already, and I am thrilled that Samp has it now. New bug fixes are already released for Pro X2.
audiokid, post: 422634, member: 1 wrote: (NOTE: I'm not in my mu
I am hoping to be able to record at several points along the signal flow paths at the same time. In the DAWS I have used, particularly Reaper and PT, If I send a signal to a channel, via aux or bus, I can click record and have the destination track record a sound file from the audio being routed to it. In this case with Sequoia, what I am trying to do is to create a hierarchy of sub-mixes (stems) that combine down to a stereo channel. This stereo 'master' channel would than be sent to another channel, on which would go all the mastering plugins. That mastering channel would then be assigned to another channel to record the 'Mastered' version. Ideally, as the at each stage of sub-mixing I would like to be able to record the outputs of the subgroups (Drums, Guitars, Bass, Vocals, etc..) and have the audio routed on to the next sub-mix. So... as an example, a source track - say a Kick drum (along with all the other drums) - is routed to a 'Drums' subgroup track(recorded), then the output of that channell is sent to a stereo mix subgroup track(recorded), then likewise to the mastering chain track, then to the mastered track(recorded). This way I should be able to simultaneously have stems for the mix, the mix itself, and a mastered version recorded on the same pass. Of course all of this depends on being able to record the output of a subgroup (input of a subgroup channel).