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If You're not using Samplitude...

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.

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.




bigtree Mon, 08/04/2014 - 15:07

JohnTodd, post: 418059, member: 39208 wrote: Questions .... oh yeah, there's questions. How do I set up my MIDI drumset to have each instrument come out a separate channel?

Are we talking Independence? Or Midi out in general? That would be dependent on your VSTi too?

bigtree Mon, 08/04/2014 - 15:46

There must be a hundred of them. I still look for info after years using this. Best way to learn this DAW is like you are all doing. Start using it and when you get stumped, ask like here and search for a youtube tip.

The bottom of the fader is the OUTs, top of the channel are the in's.
Touch the bottom fader, right click and it will point to where you want to direct it. This could be a bus, master out, midi out to a VSTi etc.

bigtree Mon, 08/04/2014 - 15:51

There are multiple ways to the same result. They've designed the software to get to where you want via hot keys, general preferences and right clicking. This can be confusing at first because you are thinking you saw a feature over here, but then recall seeing it by clicking.

pcrecord Tue, 08/05/2014 - 03:09

You were talking about plugin integration. When I got sonar x3, I gave it a try at mixing with only onboard plugins.
It was ok but the EQ and Comp wasn't as good as Fabfiter's. Even if I got around 200 plugin installed, I use about 10, the best sounding ones.
I'm still learning and adapting but what I fing the most important about this thread is going into the bottom of :
I samplitude really sounding better from other DAW (specially sonar X3)

I have a show tonight. After that I plan to mix the same song in both DAW. I'll do a minimum mix and try to reproduce the same settings and if I don't find a plugin equivalent in Samplitude, I won't use it.

I've compared runing the same tracks to both DAW without plugins or mixing and they sound the same.. the next step will determine if I switch or not ;)

DonnyAir Tue, 08/05/2014 - 05:52

One thing I'm stuck on is transient detection.

I watched the video ( the one with the very laid back British gentleman doing the narrative, man that guy's vocie is like warm milk and valium LOL)
and he is showing the steps to the process.

He instructs to go to the "Tempo" menu on the top horizontal bar (where the other menus are, like Automation, Effects, etc.)
The problem is, I don't have a Tempo pull-down menu in my copy of Samplitude.

The top menu bar is, from L-R: File, Edit, Track, Object, Play/Rec, Automation, Effects, Cd/DVD, View, and Help.

Is this "tempo" menu, (with transient detection in the pull -own section), located somewhere else? I can't seem to find the command...

JohnTodd Tue, 08/05/2014 - 13:29

On that link you shared ... Kraznet showed us revolver tracks and the take composer. He made some copies of the original, then used the composer to make comp 1, then again to make comp 2 and comp 3, thereby showing us how to make alternate versions, etc. Then he loaded the 3 comps into the composer and comped them into a new single take. My brain almost assploded!

bigtree Tue, 08/05/2014 - 17:18

Why I invested in the 24 channel Neos 120v rails (high headroom analog summing console) and a Dangerous Master. I can slam 24 channels (12 stereo bus or aux's ) OTB , insert special mastering hardware between Samplitude tracks and master bus, capture that on a seperate mixdown DAW, which is Sequoia 12 for me. Its crazy awesome.

But, I have been experimenting without the console, just capturing it and a second DAW and that is just as crazy. My next quest is to try and keep it all ITB and do what I was doing OTB with all the analog goodies, in Sequoia master section.

Basically, it shows us that the DAW is nothing short of wow.
A killer front end, smart gain staging, keeping the accumulative aliasing down to a minimum and summing with a great DAW like this is pretty damn important.