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By Sam InglisCan its new look and feel, 64-bit code base and killer feature-set help Magix's heavyweight DAW muscle its way to a bigger market share?Today's recording and mixing software can be so complex that most of us are understandably keen to stick with what we know. But how did we get to know what we know in the first place?
I suspect that many people actually become Pro Tools or Cubase or Logic users by imitation and accident. Perhaps we had friends who used the same software, or it was taught us at college, or used in the first studio we visited. It would certainly be a rare newcomer who would sit down and put all the different music software through its paces, in order to make an informed and rational choice.The result is that, in the UK at least, some very capable recording packages have remained minority options, never quite having snowballed through word of mouth. This category includes two long-established and well-featured programs: Magix's Samplitude/Sequoia and MOTU's Digital Performer. And both of these manufacturers seem determined that 2012 will be the year when this situation changes.Both Magix and MOTU have identified cross-platform support as a key element in this plan.
For the last two decades, Samplitude has been tied to the Windows platform, while Performer has been Mac-only. However, a Windows version of DP is expected early this year, while Magix have confirmed that a Mac port of Samplitude is in the advanced stages of development.Magix have also reconfigured the Samplitude product range, to address a problem of perception they felt was holding back its acceptance in some markets. Last time SOS reviewed the program, in, the top-of-the-range Samplitude Pro 11 retailed for over £900: more than twice as much as most rival recording packages. The more affordable Samplitude 11 was a very capable package, but some users no doubt felt that for around the same price, they would rather have the 'full' version of Cubase or Pro Tools 9 than what seemed a cut-down version of Samplitude.As a result, there has been a wholesale change.
While Magix's related Sequoia package, targeted mainly at mastering houses and broadcast applications, will move to version 12, its music production-oriented sibling has been reinvented as Samplitude Pro X. The key point in this reinvention is that Pro X, which retails for around the same price as Samplitude 11, and is thus a direct rival for the likes of Cubase or Pro Tools, is not at all a cut-down or hamstrung product. Pro X is the flagship version of Magix's DAW, and includes the full Samplitude Pro feature set; and although there is still a Samplitude product at the higher price point occupied by Pro 11, this has been renamed Samplitude Pro X Suite, to reflect the fact that the basic program is exactly the same in both cases. The 'Suite' appellation denotes the inclusion of additional bundled plug-ins and sample content, which we'll come to shortly.A related change is that Magix have abandoned the use of a hardware dongle.
Existing users can still choose this method of authorisation (and it may be preferable for those who want to move between computers often), but new copies of Pro X can be activated using a simple Web-based procedure. I'm sure this will be a welcome move for many, especially as users are allowed to activate a single licensed copy of the program on up to three machines.There have, of course, been changes to the program itself, and arguably the largest of them is one that has only an indirect effect on the user: the application and its bundled plug-ins have been re-coded for full 64-bit operation. In making this move, Magix have also taken the opportunity to rethink aspects of Samplitude's user interface, partly with the aim of making it more accessible to new users. This has involved making Samplitude's numerous windows more manageable, by providing a central point in which they can be docked. Likewise, key windows within Samplitude, such as the Object Editor, have been redesigned.Last year, Magix bought out the renowned sampler and sound library developers Yellow Tools, and the first fruits of this purchase are tempting indeed: Samplitude now comes with the full version of their Independence soft sampler, complete with 12GB library, while the Suite includes an astonishing 70GB of Independence content. Elsewhere, the battery of simplified Essential FX basic effect plug-ins has been restyled and expanded to 10 plug-ins.Other new features include better tempo-mapping facilities, Eucon support for Avid's Artist series controllers, surround mixing and improved 'visualisations' (of which more presently).
Should you wish to transfer projects from or to another program, meanwhile, Magix have made things easier by adding support for the OMF and AAF file interchange formats. A selection of the new Essential FX plug-ins.Prior to this review, my own contact with Magix products had been limited to the various plug-in bundles that have been spun off from Samplitude and sold as independent products.
These include the very nice Vintage Effects and Analogue Modelling Suites, and the versatile Variverb Pro algorithmic reverb, all reviewed in SOS August 2007 , and the superb Vandal amp simulator, reviewed exactly three years later. One of the things that now separates the Samplitude Suite from the basic Pro X is that full versions of all of these plug-ins are included.
Pro X users don't do too badly, though: the Vintage Effects Suite is here in its entirety, as is Variverb Pro, while the included 'SE' versions of Vandal and the AM-Track tape emulator plug-in are still very capable. One of the down sides of choosing an application that isn't the industry standard is that if you need to transfer multitracks to and from other systems, you can't always expect to send and receive them in your own system's native project format. In recognition of this, Magix have added support for Open Media Framework (OMF) and Advanced Authoring Format (AAF) files, which Samplitude Pro X can both export and import. When exporting, you have the option to embed audio files, copy them, or refer to the originals, and you can choose to exclude automation and have stereo files exported as dual mono (allegedly for Pro Tools compatibility).In practice, I found it absolutely necessary to experiment with these options, as not all settings produced sessions that would open both in Cakewalk's Sonar X1 and Avid's Pro Tools 10. Eventually, however, I did manage to transfer my test projects, and all of their edits appeared to be in the correct places, though none of my automation made it across (the same projects reopened perfectly within Pro X). It wasn't clear to me whether the faults lay in Samplitude's export or in the import functions of those other applications, but it's probably fair to say that if you have regular clients who work in a different system, you'll need to put quite a bit of thought into the best way of transferring projects, and that it may well prove a bit of a headache. Tilman Herberger (left) and Titus Tost of Magix.Like many other audio applications, including Steinberg's Cubase, Emagic's Logic, Ableton's Live and Presonus' Studio One, Samplitude began life in Germany — but unlike them, it has its roots in the former Communist bloc.
Tilman Herberger and Titus Tost met at university in the former German Democratic Republic, where they managed to get their hands on the first Commodore Amiga microcomputer to make it through the Iron Curtain. It was for this platform that early versions of Samplitude were developed and, following the reunification of the country, released commercially. From the beginning, it was a fully native application, and in 1994, Herberger and Tost ported Samplitude to the Windows platform. They remain very much in charge of its development.The Magix company was founded in 1993, and alongside professional tools such as Samplitude, developed a formidable range of multimedia products in the music, video and photo markets, currently employing around 330 people.
The main company headquarters is in Berlin, but Herberger and Tost still head up a large software development team in Dresden, where I met them in January this year.Titus Tost maintains a small Samplitude 'museum' at their Dresden development HQ. One of the highlights is an original Amiga running the very first release version of the program.From the very beginning, two hallmarks have defined the philosophy behind Samplitude: the 'object oriented' approach to editing and processing, and an obsessive commitment to purity of sound quality. With respect to the former, Tilman Herberger explains: 'We were always convinced that it makes sense to have real-time effects on the smallest possible level. We did not like the idea of having to use a whole track simply to apply an EQ, so the idea was to have it for each clip independently of the next clip. All our other software tools share the same concept of non-destructive object-based editing. It is very common in the video area today, but not so common in the audio area — and we have it for both. It makes the project very clear, because you need only one track, but you can use 20 effects one after another.
It is also very CPU-economic, because only the actual audible effects at any one moment have to be calculated, no matter what comes in five minutes or what was three minutes ago. It is very useful for guys who have to deal with hundreds or thousands of cuts, and this is the case, for example, in the classical music area.' Being native helps a lot with doing these object-oriented effects. For a DSP card, it is much harder switching in real time without any glitches from one effect to another, but for a native processor this is much easier — I would not say simple, because this is the hard programming stuff, but being native was an advantage for that.”Herberger is sceptical about the notion that there are no sonic differences between audio programs. 'There was a test that was done a few years ago by a music conservatory, where they compared digital audio workstations — only the mixing ie. Summing of the tracks — and then they made a really good blind listening test. In this category was also mixing via simply passive resistors, because everybody says 'This is the best way you can mix audio signals on an analogue level.'
In this contest we won, together with one or two other digital audio workstations, on the same level with the analogue resistors, because this was the group where the listeners could not discern differences.' I think the big thing about the sound quality is to make no mistakes. You must not do mistakes in the DSP. It's a big goal, and a lot of errors and not-clever routines are done by a lot of parties on the market, and people who are trained to hear audio will discover these immediately.
Samplitude Pro X Suite Keygen For Mac Free
Six or seven years ago, we had a patch for a new Samplitude version, and one day an American guy called us and said 'Hey, you did something wrong in your program. It sounds bad now.' We measured, and did tests, and after a long time we found out that in the 24th bit of the audio in going from floating-point arithmetic that we do internally down to the sample level through a 24-bit converter, we forgot the dithering. I personally could not hear this, to be honest — but you can measure it, and in a program as huge as Samplitude, you have a thousand points where you can make a mistake of this sort.”'Especially with small waves in the area of the zero crossing,” adds Titus Tost. 'As you switch from negative to positive, there are some problems with rounding.
It takes a lot of experience to put this together so that it sounds good.”The twin commitment to object-oriented editing and absolute 'correctness' of sound quality has been core to Samplitude's development, but Pro X sees some major changes in other areas, most notably the user interface. 'We really worked a lot on the new user interface of the program, because we know all the deep features in the detail do not make much sense if people do not find them, or if working with the user interface is a hassle and makes no fun!” says Tilman Herberger. 'I think this is a kind of modern user interface. This was the goal of the new user interface: to have a clear structure and everything that is active right now visible — if you want it, of course!”It's clear that Herberger and Tost also see the acquisition and integration of the Independence sampler as filling an important gap in Samplitude's comprehensive feature set.
'I think the most important new feature is the integration of the Yellow Tools instrument,” says Herberger, 'because this gives you now a huge amount of perfect sampled instruments, which were missing in the old version. This is not a standard sample bank like everybody has — the guy who produced them really put his heart into them.”Finally, as mentioned in the main text, Magix have already announced that after 18 years as a Windows application, Samplitude Pro X will soon be available for Mac OS X. This, apparently, has been the number one user request for many years now, but porting it is a huge task that requires considerable development resources.
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'It's a complex product developed over the last 18 years,” explains Titus Tost, 'and it's not so easy to put all the stuff into a Mac version.”'Fifteen years ago we were two guys, so it was not possible for us to make a Mac version,” continues Tilman Herberger, 'but right now we have the company, we have the background, we have the access to the market to make sure it makes sense.”'And we have also the Intel processors in the Mac!” adds Tost.But although there is a firm commitment to its release, no date has yet been set. 'We will not come to market with an unstable or not really finished version,” insists Herberger. 'This is our policy always in the professional area. For the pros, the audio quality and stability are the most important features.”.
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