It's a welcome and successful update, for sure!

It is clear that some features of Samplitude migrated to this version of Sound Forge, which made this program even more powerful than it already was.

The excellent work done in the 'Audio Studio' version leads me to believe that the 'Pro' version will be a great watershed!

I hope Samplitude has the same revitalizing treatment as the current Sound Forge incarnation.

Excellent work with Forge, thank you and my sincere congratulations, MAGIX!

I know nothing about Sound Forge but I am happy you are here. (y)

Sound Forge (Audio Studio/Pro) is the King of Digital Audio Edition for many years.

I remember very well when Sonic Foundry gave us its early versions and then Sony bought the program.

I see now MAGIX revamping in a strong way the reputation of Forge, making this program even more powerfull than before. Sound Forge still reigns!

The current workflow is great, I would like to see a feature to customize skins in the whole family of the program, with modern styles. A customizable look would give a cool snap in its look and more pleasure to work with it!

Samplitude/Sequoia has a very nice Peak Meter with VU Meter that is very good to mensure the RMS level of entire musics and help to do a perfect normalize in volume level. It would be good to see the same feature in Sound Forge, since its native Peak Meter is very basic.

I'm still demoing the program and after a little more use I come back here.

I'm a big fan of entire MAGIX products, in special Samplitude. But I'm happy to see how Sound Forge is going to be revitalized after years with bugs not resolved by Sony - MAGIX gave a ressurrection for this divine program and, for sure, a lot of happyness to its loyal users!

Sorry for my limited English, and thanks for reading this!

Hey Johnny Blade!

thank you very much for this lovely feedback and we're glad that you like it so far! We're excited to read what you got in mind after your tests :)
We will collect your idea regarding customizable skin and forward it to our developers!

Best regards!

audiokid, post: 451878, member: 1 wrote: I know nothing about Sound Forge but I am happy you are here. (y)

The last version of soundforge I used (had) was version 7, I think, so it's been quite sometime, at least three years... After I got Samp Pro X, I started using it for 2 mix editing.
But, I'll echo Chris's sentiments and say that I'm also glad you are here on RO. :)

Hey Donny Thompson!

Thank you for your kind words. We're also very happy to have the opportunity to interact here with the community :)

Best regards

Sound Forge is going to have the same look and feel that Samplitude, and this is cool, since the integration between both programs is a very welcome feature!

All Forge's workflow and customizability options have been drawn from Samplitude, which will surely give to Samp users an incredible familiarity, speed, ease, and pleasure of 'piloting' the Forge.

I believe, however, that former Forge users will miss the layout adopted, but it should be a positive strangeness, since everything in this version of Forge is intentionally very intuitive and, I would say, in the image and likeness of Samplitude.

The 'Audio Studio' version has already integrated the great Samplitude's Peak Meter to which I referred above, including the same settings found in Samp. Very cool! This buries the bad option found in previous versions.

I know this is a simplified version of Forge, so I missed the numerous features listed in the previous 'Pro' versions, but as an 'entry version' I get the impression that the manufacturer is on the right track. The entire 'Sound Forge feel' is there, and now added to the wonderful workflow of Samplitude, which makes Forge a very strong and competitive product in the audio editing segment - it's still the King, I would say. And even more strong.

I have not yet experienced any bugs or instability. The program is very stable, solid, it opens the audio files with ease, including using the same dialog window that we see in Samp.

I did not like the 'wave graphic', with its standard coloration. The dark blue that exists in the '11 .0 Pro' version is more attractive in my opinion - almost a 'Sound Forge trademark'.

An option to make taskbar and status icons larger would be a welcome feature.

I have not yet used all the possibilities of the program - I continue testing it and now I'm going to use the native plugins.

Anyway, for the moment I conclude this post saying that I am very well impressed with the strong repagination made in Forge! The Forge is there, you can feel it and see it. And now it's covered by Samp, in the best way that could have happened!

I will come back here again.

All my kudos!

Johnny Blade, post: 451931, member: 50338 wrote: did not like the 'wave graphic', with its standard coloration. The dark blue that exists in the '11 .0 Pro' version is more attractive in my opinion - almost a 'Sound Forge trademark'.

I wonder if the color scheme of the waveform and background can be changed, like you can do in Samplitude? Have you looked into that?
Just curious.
-d.

DonnyThompson, post: 451933, member: 46114 wrote: I wonder if the color scheme of the waveform and background can be changed, like you can do in Samplitude? Have you looked into that?
Just curious.
-d.

This is the default waveform from version 11.0 Pro:

This the default from current Audio Studio 12:

And... YES! Waveform is customizable! Luckily:

The more I experience 'Audio Studio', the more obvious is the symbiosis adopted by MAGIX!

There is a clear merging of Samplitude with Forge, with the caution of having been respected the 'intrinsic personality' of the latter. I can say without fear of exaggeration that if the manufacturer put the 'Carmo' and 'Carbon' skins as options in Forge, the latter would be - nothing more, nothing less -, than the Samplitude in multichannel version and then Sound Forge would definitely lose his most visible personality, but in contrast would be absolutely homogenized with the Samplitude, which would make the integration of programs smoother as a simple and successful complementation.

The 'Audio Restoration' contained in Forge is a very successful adaptation of existing Samp features, for example. The layout of the plugins maintains the traditional 'feeling' of previous versions of the Forge.

So, Samplitude users will feel comfortably at home with the current development of Forge. On the other hand, the more traditional users of the latter - who for years have become accustomed to the unaltered layout inherited since the times of Sonic Foundry - will be introduced to a new era of the program, which I would venture to call it 'Samplitudian Era of Sound Forge'. These users will get used to it quickly, since everything is very intuitive, as in Samplitude.

In my tests, I did not find any problems. The program delivers what it sets out to do.

I've tried to find some old quirks of the program that most traditional users might miss, but everything that came for the better certainly will not make it strange, and the customization of the program is so effective that any malicious reviewer will quickly be disarmed - so as I was.

As a long time DAW user (who recently purchased the Samplitude pro x3 Suite) the most useful feature in Sound Forge was the automatic 0 crossing editing selection. I'd love to see this feature in all daws, since fade files are some of the most commonly misplaced data in 'session' files, in any of the daws I've used extendsively. (Digital performer and Pro Tools)

Beyond that I didn't find Sound Forge to be user friendly, and downright odd, relative to many of the other daws like cubase or studio one, or garage band, which any daw user can pretty much get going on manual free.

Perhaps I didn't give it a fair chance since it was more of a 'bonus' and my main daws are Samplitude and pro tools anyway, but I really felt Sound Forge was dated in appearance, and didn't seem to be self explanatory for even basic functions. Again, it's surely me to blame as much as the program in that reguard, but still, I've not experienced this, to that extent with any of the others. I just couldn't find any features that merited the learning curve. For instance 11.1 mixing, or multiple video tracks would be something to merit the learning curve.

I installed SF and deleted it within hours. There was nothing it did that Samplitude couldn't. Barring the 0 crossing feature which I'm not sure Samplitude does or not.

I will say it was very CPU efficient and ran smoothly on a budget w10 tablet.

I'm in no way bashing SF, it just wasn't for me. Perhaps if Samplitude wasn't so good, I would think differently. Perhaps it was my workflow, or lack of desire to extensively read the manual and learn. I found it odd that my software package included SF, and I would have rather something else be included or an even lower cost of entry to the package, instead of SF. The package was such a good price to begin with and an incredible value all around I have only gratitude toward Magix. I own magix video pro, and the xara designer suite, so I'm an obvious fan of magix for their high performance and excellent value.

I think SF could use a serious overhaul and just doesn't seem to compete well with its competition. Perhaps SF should expand on whatever it does that the others don't, to set it apart, ather than just copying the well worn tracks of the others?

I still do like that 0 crossing feature and would love to see it incorporated in all DAWS.

Sorry to sound negative, I hope it comes across as constructive. Magix is really in my opinion tough to beat these days.

I'd like to see the current development of Sound Forge with all its tools and possibilities replacing Samplitude's Wave Editor.

By the way, in a more clinical look, it would not be disrespectful to say that today, Forge IS Samplitude's Wave Editor, much more vitaminized.

Therefore, it would be a logical substitution and this would make Samplitude the God of all Kings.

Here is a great question. Why would someone want Sound Forge?

Well, I can say why I wanted it, back in the 90's and into the early 00's... and that was because it was a powerful 2-mix editor and finalyzer.
Along with its own built-in processing (EQ, GR, etc) it also recognized a lot of 3rd part stuff as well, such as reverbs, delays...
Multi Track DAWs in those days, while good for recording and incorporating midi with audio, weren't the editing power houses that they are now. Things like fades, cuts, and even exporting to different formats wasn't as available on typical DAWs then as those things are now. Sound Forge provided a solid, stable and useful platform from which you could work on your final 2 mix. Other similar platforms were available (some still are); Bias Peak, Wavelab, etc also provided "finalyzer" features. I prefer to call them "Finalyzers" as opposed to mastering programs because back then, the lines weren't quite as blurred as they are now, with "mastering" having taken on a different meaning, and seemingly every DAW now professes to have "mastering" capabilities.
In 1995, you still sent albums and singles out to be mastered ... on 3/4" uMatic, analog tape, mini disc, DAT, even Zip Drives... to facilities that had great gear, great monitoring and listening spaces, and solid reputations for doing great work. This was long before everyone was manufacturing the plethora of plugs that we take for granted now.
SF was like your 2 track machine, eventually taking the place of 2 track tape decks, and even DAT machines. It provided a multitude of file formats - MP3 was starting to become popular at that time, and you were hard-pressed to have a DAW that could export to anything other than PCM/Wav.
Editing was very intuitive, things like tops and tails, fade outs, cross fades, DC offsets...
Most of those features weren't available on the multi track production programs at that time, certainly not like they are now.
Now... why use a program like SF now?
I honestly can't say, Chris ... our recent guests would have to chime in on that one. Most - if not all - DAWs now offer all of those features as part and parcel of the platforms, stock features that are common. I think we've gotten to the point where we even take that stuff for granted now.
I use Samplitude Pro x, and there's nothing that the older versions of SoundForge offered in terms of 2 mix editing that Samp now doesn't have.. and maybe Samp has even exceeded those older 2 track platforms in terms of features and ease of use.
Honestly, it's been quite sometime since I used a program dedicated specifically to 2 track.
I'm with you on the premise, I don't get why you'd have to have it.... BUT ...
I'm more than happy to be corrected though, and told why I should consider using it.
I'm open minded. ;)
But ...based on what I used to do in SF, there's nothing there that I can't do in Samp.
I'm certainly willing to be taught and told why, though!! :)
FWIW
-d.

Lol Zip drives!!

Sound Forge is going to be a "Lite" version of Samplitude. A stereo/multichannel version.

Forge has much more powerful tools than the Wave Editor, so for those who like to use this feature of Samplitude, Forge offers a much more enjoyable and feature-rich experience.

With the current excellent integration between Forge and Samplitude, I no longer see myself using the Samp's Wave Editor, unless in the future the manufacturer makes the replacement I mentioned in my previous post.

For Samplitude/Sequoia users, Forge is not properly a "must have", but it broadens, extends and enhances the possibilities and quality of the final product. It's worth it!

For those who do not have, can not have or do not like multitrack programs, the current development of Forge offers a taste of Samplitude's power. For these I would say that it is a "must have", since it covers all the needs for manipulation of audio in stereo/multichannel environment in a very intuitive and powerful workflow.

Sound Forge is the best digital audio editor out there.

MAGIX
Johnny Blade
audiokid

I've never used Samp's wave editor, I've alwAys just edited the track (or object) on the regular editing time line, and then I'll use the Object Editor (which I love!) to do further "whatever" to it.
Object Based Editing was a real game-changer for me. Once I figured it out, it was one of those "lightbulb" moments for me. I use it ALL the time now. I don't know if other DAW platforms offer something similar to Samp's OBE, but it was the first platform I had ever used it on.
I've grown so used to it, that I don't know what I'd do without it. It's a feature that is quite powerful. I guess that leads my question - along with Chris's - back to wondering exactly why I would need SoundForge. That said, I'm still open minded about it, and willing to listen and consider any reasons. :)
-d.

Johnny Blade, post: 452080, member: 50338 wrote: Sound Forge is going to be a "Lite" version of Samplitude. A stereo/multichannel version.

Forge has much more powerful tools than the Wave Editor, so for those who like to use this feature of Samplitude, Forge offers a much more enjoyable and feature-rich experience.

With the current excellent integration between Forge and Samplitude, I no longer see myself using the Samp's Wave Editor, unless in the future the manufacturer makes the replacement I mentioned in my previous post.

For Samplitude/Sequoia users, Forge is not properly a "must have", but it broadens, extends and enhances the possibilities and quality of the final product. It's worth it!

For those who do not have, can not have or do not like multitrack programs, the current development of Forge offers a taste of Samplitude's power. For these I would say that it is a "must have", since it covers all the needs for manipulation of audio in stereo/multichannel environment in a very intuitive and powerful workflow.

Sound Forge is the best digital audio editor out there.

What tools do you find yourself using in SF's wave editor, that sam doesn't currently have? Just wondering as I haven't dug into editing much in sam.

Well, as I said before, for Samp/Seq users, Forge is not a "must have" but it extends - a lot - the editing environment.

When an audio file needs more critical processing I open it in Forge and edit it there, instead in the Samp's Wave Editor.

This allows me to perform tasks in an editing environment without having to add plugins or perform other processing via Object Editor, Track Editor, etc.

It is an additional way to treat the object within a Project or within the Object Editor itself.

Most commonly, I find myself acting in this way:

• Editing an Object with any plugins directly in Forge and, with the result obtained, I continue processing the same Object in the Object Editor - once the Forge is finished, the file is automatically saved in Virtual Project - VIP.
• The Object contained in the VIP/Track Editor/Object Editor will then be able to be manipulated by the processors (plugins) in the environment of the Object Editor, not overloading the Project with much processing that will be allocated in its slots - and for this purpose Forge is much better and complete than Wave Editor.

In short, the possibilities are many, and with a good deal of creativity the work becomes more interesting.

My car does not need a trailer hitch. It is complete. But, after I put one in, the possibilities of my car have grown widely.

Thanks for the well organized and detailed reply Johnny.

I'm in no way trying to be a jerk or anything, as I've stated I'm a happy Magix and Xara user. Having spent most of the last 15 years on audition, PT, DP, I'm interested in how people are taking advantage of Sam's unique features as i evolve my workflow. Would an alternative way to do what your describing be to isolate and object, do the work on it, and bounce the audio down? The disadvantage I see to what i described is the in-ability to tweak the bounced file. Does your workflow allow you to easily move between things in case you need to do a last minute tweak? I'm guessing I could save the object or a copy of it before I bounced it?

I'm a total newb to sam and in between systems right now so I applogize if these are things I should know already or would know if I was able to mess around w it more than the few hours I've logged in.

Well, we are getting off topic here, but your question is very interesting and pertinent, nonetheless - and unfortunately - I do not feel properly qualified to help you in that, since I have never seen myself with such a need ...

What I can witness is that every time I had to do a very specific and laborious task, Samp never let me down because there was always a way to accomplish what I needed to do. It was not always an immediate solution, but it always appeared, sooner or later.

I am sure that with creativity and perseverance, you will also always find a way to satisfy your pretension. Samplitude is an ocean of possibilities!

kmetal, post: 452091, member: 37533 wrote: Thanks for the well organized and detailed reply Johnny.

I'm in no way trying to be a jerk or anything, as I've stated I'm a happy Magix and Xara user. Having spent most of the last 15 years on audition, PT, DP, I'm interested in how people are taking advantage of Sam's unique features as i evolve my workflow. Would an alternative way to do what your describing be to isolate and object, do the work on it, and bounce the audio down? The disadvantage I see to what i described is the in-ability to tweak the bounced file. Does your workflow allow you to easily move between things in case you need to do a last minute tweak? I'm guessing I could save the object or a copy of it before I bounced it?

I'm a total newb to sam and in between systems right now so I applogize if these are things I should know already or would know if I was able to mess around w it more than the few hours I've logged in.

Kyle...
One of the first things I do when working in Samp - and I don't think the DAW platform matters cuz you can do it in any DAW - is to clone tracks I want to work on, either with editing or processing, so that I always have the original track to fall back on if I really screw the pooch and over-cook or over-edit something.
I don't know that everyone does this, but I do.
It's not that I'm not confident in my abilities, but songs can morph and change as they progress, as more tracks are added, etc... and certain things you do in earlier stages based on where you are at the time might not work so well after a song progresses.
As I stated earlier, I don't use a separate wave editor, I don't even use the built in Samp wave editor... I can do all the editing I need with the track or track object right on the DAW timeline window, or by selecting a certain object in the track and using the Object Editor to make changes.
You can also freeze tracks, which does a temporary file render ( you can always unfreeze frozen tracks) and freezing locks your current track settings and whatever processing you used on that track into place. This can be useful if you are working with limited computer resources that may cause "hiccups" and other artifacts caused by a slower CPU or not enough RAM.
I don't personally see the need to export tracks to edit them. Other guys may do this, and if that works for them then that's what matters, but I see it as an extra and un-needed step.
Freezing accomplishes the exact same thing as Rendering and exporting a track to a separate outside file. You don't need to export and then re import because the frozen tracks stay resident on your timeline ... and you can un freeze them at any time.
I don't use the freeze function much anymore, because I have a sufficient CPU and RAM to work on a 24 track project with processing added on track inserts, busses, and the master stereo bus.
But it can be a useful feature if you are working on projects with high track counts and dense processing, if your computer is lacking in resources.

Isn't Revolver Track a better way to do that?

DonnyThompson, post: 452181, member: 46114 wrote: Kyle...
One of the first things I do when working in Samp - and I don't think the DAW platform matters cuz you can do it in any DAW - is to clone tracks I want to work on, either with editing or processing, so that I always have the original track to fall back on if I really screw the pooch and over-cook or over-edit something.
I don't know that everyone does this, but I do.
It's not that I'm not confident in my abilities, but songs can morph and change as they progress, as more tracks are added, etc... and certain things you do in earlier stages based on where you are at the time might not work so well after a song progresses.
As I stated earlier, I don't use a separate wave editor, I don't even use the built in Samp wave editor... I can do all the editing I need with the track or track object right on the DAW timeline window, or by selecting a certain object in the track and using the Object Editor to make changes.
You can also freeze tracks, which does a temporary file render ( you can always unfreeze frozen tracks) and freezing locks your current track settings and whatever processing you used on that track into place. This can be useful if you are working with limited computer resources that may cause "hiccups" and other artifacts caused by a slower CPU or not enough RAM.
I don't personally see the need to export tracks to edit them. Other guys may do this, and if that works for them then that's what matters, but I see it as an extra and un-needed step.
Freezing accomplishes the exact same thing as Rendering and exporting a track to a separate outside file. You don't need to export and then re import because the frozen tracks stay resident on your timeline ... and you can un freeze them at any time.
I don't use the freeze function much anymore, because I have a sufficient CPU and RAM to work on a 24 track project with processing added on track inserts, busses, and the master stereo bus.
But it can be a useful feature if you are working on projects with high track counts and dense processing, if your computer is lacking in resources.

Excellent d!!! I in DP I "duplicate take" and label it "keeper" and work on that one so the original stays in tact. Looks like you do similar in sam. Thanks for explaining how.

Track freeze is something I may be taking advantage of since my goal is remote access and the less CPU and Bandwidth I use, the better. Once again, you da man.

Adobe audition had a wave editor as well and i never used it. Overall it seems to me that I won't be missing anything by excluding SF from my OS drive. I'm trying to balance between keeping things tidy, and having a very powerful, streamlined, and fast setup.

I'm moving away from as much "manual audio labor" as possible, with the intent of having some great templates and a system with virtual triggers, and sounds cued up, so clients mixes are essentially just time and pitch data, and the actual sounds are all (or some) replaced. But quickly. Hence drummagog, and my affection for audio to midi functionalities.

Editing every note, of every instrument, of an objectively bad death metal ep, showed me a little piece of hell I'd prefer to never revisit. It also showed me some limitomations at the studio which was really geared towards a more 90's rock and roll, live tracking thing.

Between my fairly nice vsti collection and knowledge of what Samplitude can do, I think much of the tedium can be taken care of by the computer, if set up properly from the get go.

I used to have a control freak mentality with it, but lately I'm far more interested in letting the computer do as much as it can on the technical side opening my mind for the creativity.

lol I'll still likely set my eqs and compressors manually, i.e. No "stock presets" as usual, but to me that's never been the way to get best results. However those presets can be inspiring and or a decent starting point.

There is always a way. :)

I use SF Audio Studio 10 at the moment and love it. I just bought SF AS 12 to install on my next PC. Looking forward to it. I'm hoping though that the addition of metadata to your tracks is improved in 12. V10 has some metadata fields but not enough and I'm finding it's important to have as much as possible.

p.s Magix, thanks for rescuing Sony products from the wasteland they were in. Please consider continuing Acid Pro and making an 8 version. I know it has dropped off people's radars but it is an awesome DAW for composing and getting ideas down quickly. Thanks

Hey Michael :)

Thanks for your feedback! We hope you will like it. Don't hesitate to give your honest opinion once you've tested it.

Regarding ACID: We are currently developing a new ACID :) Stay tuned!

Also we would like to thank everybody here! Wonderful constructive discussions! It's nice to follow your thoughts and read differents opinions. And as promised we will soon send all this to our developers of SOUND FORGE!

In our opinion SOUND FORGE AS 12 is not really a lite Version of Samplitude. Our developers have spent a lot of development time into the new version. Especially into the Wave-Editing in order to achieve the best usability and an efficient tool (e.g. snapping, zero crossings, handlings of channels in stereo files, drag&drop for mix&paste etc).
Also the handling of Marker and Regions do not work the same as in Samplitude. In Samplitude, there are no Regions.

Another advantage is that there are more supported files (e.g. DSD Files, or raw video), more effects, better Window and Docking handling. And everything can now be controlled with your keyboard.
But of course, since we're also developing Samplitude, it's kind of natural that there are some crossovers :)

I hope this gave you a little idea in which way SF AS is different to what you can do in Samplitude.

Best regards,

MAGIX

Thanks for the clarifications!

I am sure that the most loyal users of SONY products are feeling very blessed by the happy acquisition made by MAGIX.

Products like ACID have always had a very favorable reception on social networks. ACID has become less used because of its discontinuity, but now will surely unearth a legion of fans scattered around.

The current developments made by MAGIX are truly very exciting. A few days ago I saw the launch of the new version of VEGAS. What a cool!

The updates are filling the eyes. I believe that we are experiencing a moment of extreme competitiveness of MAGIX and users of multimedia programs will have so many options that will make them dazzled with so much joy.

I hope - from the bottom of my heart -, that all these blessings addressed to former SONY users are extended to Samplitude and, like those users, Samplitude users will also be amazed!

Memorable times.

I'm going to give SF Audio Studio 12 a trial.
It's not fair for me to base my current feelings about it based on past experiences when Sony had it, or to opine in any way without at least trying it. Fair is fair, I'm going to go into it with an open mind, and see if this is a tool that I'll find valuable for what I do and how I work.
I don't know if I would use it for much mastering (although maybe it turns out that I will), I think the thing that intrigues me most about it at this point, is for potential restorative work... the spectral editing looks like a cool feature.
I'll keep RO members up to date on what I find out. ;)

DSD file handling makes it worth having on at least my mastering / mixdown machine. Cool beans!!!! I love magix!!

MAGIX, post: 452411, member: 50719 wrote: Hey Michael :)

Thanks for your feedback! We hope you will like it. Don't hesitate to give your honest opinion once you've tested it.

Regarding ACID: We are currently developing a new ACID :) Stay tuned!

Best regards,

MAGIX

Thank you Magix! A new Acid Pro is welcome. There were several passionate audio heads at the old Sony forms who spent years asking Sony for a new Acid. Please don't change it too much though. It's quirky but it's simple(ish) and gets music made!

DonnyThompson
You also have to know that Audio Studio 12 is a entry-level software for audio editing. Means that the upcoming SOUND FORGE Pro 12 will have way more possibilites, features, tools etc...especially when you're interested in mastering :)
BTW: If you are into spectral editing, then you should check out our latest SpectraLayers Pro 4. We don't want to turn this thread into a marketing/ad space or talk you into something, but this gives you a total new point of view on how to handle audio files :) https://www.magix.com/us/music/spectralayers/
Always feel free to download the trials :)

Hey guys!
We just wanted to let you know that all our tutorials about SOUND FORGE Audio Studio 12 are now available here on RO :)
https://recording.org/media/categories/sound-forge.60/

Thank you audiokid for allowing us to share these! Everyone who's interested in the workflow of the program, will learn more in these videos.

Best regards

MAGIX

Thanks for posting all that, gonn take a look.

I was wondering if you could maybe comment on Mac compatibility with Magix software? It came up in another discussion here on RO. I know at one point it was talked about by magix. Any insights?

Hey kmetal :)

We've released earlier this year SOUND FORGE Pro Mac 3 (dead link removed). You can try it out if you need something for Mac. SpectraLayers Pro 4 is (see our other post) is also available for Mac.

Unfortunately you have to emulate (e.g. bootcamp) in order to use other DAWs or audio editors from us. We mainly target Windows as operating system.

MAGIX, post: 452770, member: 50719 wrote: Hey kmetal :)

We've released earlier this year SOUND FORGE Pro Mac 3 (dead link removed). You can try it out if you need something for Mac. Unfortunately you have to use bootcamp for the other DAWs or audio editors from us. We mainly target Windows as operating system.

That's great to see Mac compatibility with sound forge.

I'm a windows/pc user, and happy w Samplitudes performance and CPU efficiency. Mac only comes into play at some of the studios I work out of.

Thanks for the response.

One thing I did find a little cumbersome was the various registration sites for the various programs from between xara pro x365, Samplitude, magix video pro, magix music maker, and Sound forge. There was like magix-pro, xara, and magix, all separated. I understand they're different companies, but a unified registration/login would make things easier and more organized for the end user. Especially since some of the software was packaged/bundled together.

Again, I love magix/xara as I've purchased all of the above, just figured I'd offer a constructive criticism. Beyond that the installation and activation/deactivation is very convenient.

Hey :)

We're aware of these seperated things. MAGIX-pro website doesn't exist, which one do you mean, maybe magix-audio? But you can expect changes in the very near future, stay tuned for updates.

And thanks for your support, we're glad you're happy with the software :)

MAGIX, post: 452772, member: 50719 wrote: Hey :)

We're aware of these seperated things. MAGIX-pro website doesn't exist, which one do you mean, maybe magix-audio? But you can expect changes in the very near future, stay tuned for updates.

And thanks for your support, we're glad you're happy with the software :)

Must be magix-audio, sorry, I should have have verified before posting, I was referring to whichever address seperate the Samplitude and Sequoia user area/registration sections from the other titles.

Looking forward to the new updates!

Hey guys! We wanted to share a little statement from our developers of SOUND FORGE who are really thankful for your help!

"We're excited to see all the active discussion about SOUND FORGE here in the thread.
Since the release, we've already brought out several patches after listening to valuable user feedback.

Things will stay this way in future too. There are more updates to come for improvements to stability and existing program features. And there are plenty of exciting new developments in the pipeline! The majority of changes listed in the last two patches have been driven by feedback from our users.

Our team has put a lot of enthusiasm and passion into the development process, because we're so convinced about the product itself.

And that's especially because we do all that we do for our customers. We want to ensure you can access a tool that's effective and efficient for editing audio files. Intuitive usability is essential too. During the development phase for the latest SOUND FORGE version, we've kept to the motto "define the edge".

Our goal on one hand is to set new benchmarks, on the other to make sure our customers can also set new benchmarks with the compositions, podcasts, mastered tracks and recordings they create and thus become part of the "define the edge" concept too."

B