View all features. B Close. Start download. The professional Digital Audio Workstation for musicians, sound designers and producers. Find presets in the plug-in browser. This advanced corvine bird code is that the best program to boost your own songs.

Most YouTubers area unit victimization this powerful music code to boost their tracks or perhaps improve instruments and sing in a very karaoke song. Users also are victimization this wonderful music program to supply their own covers for alternative existing songs. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Notify me of follow-up comments by email. 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 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. And finally, in the ‘surely that’s still the realm of science fiction’ category, Samplitude Pro X now includes spectral editing — familiar from packages such as CEDAR’s ReTouch — at the track level, allowing you to invisibly remove thumps, clicks, motor horns and other sounds from individual tracks, without leaving the arrange window.

An SOS review of such an established software package would usually focus almost exclusively on its new features, but since this version forms part of a concerted effort to attract new users to the Samplitude platform, and since I’m one of those new users, I thought I’d begin this one by outlining some of its most important features, and recounting the experiences that await fellow novices. A positive experience awaits on opening the box: there’s a printed manual. This is accompanied by an excellent interactive HTML Help system, which doesn’t look as flash as a glossy PDF manual, but is much more friendly to use, especially with the new Pro X enhancement of a search field built directly into the Samplitude menu bar.

For all this, the documentation is rather terse in places, and can take a bit of getting used to, partly because it seems to have been translated from the German, and partly because it kicks off with a slightly terrifying explanation of the numerous different input monitoring options. At first glance, Samplitude’s interface is functional and fairly busy, with strips of buttons running along the top and bottom.

If you prefer a different look, it’s all very configurable, and a number of workspaces and different graphical ‘skins’ are available. A selection of Samplitude Pro X’s ‘skins’. One distinctive aspect of the user-interface design is the way in which the right mouse button is employed. Sometimes it brings up a contextual menu, as in other applications, but very often it’s the means by which important dialogues are accessed.

For instance, left-clicking on an insert slot in the Mixer bypasses a plug-in, but it’s right-clicking that opens the plug-in window for editing. This is logical and it’s implemented consistently throughout the program, but rather different from other DAWs I’ve tried, and means you absolutely need a two-button mouse. Oh, and why oh why can you not use the Page Up and Down keys to navigate the main arrange window? Magix have made a concerted effort to control the proliferation of windows in Pro X by introducing various ways in which they can be parked.

The most important development here is the Docker, which in its default mode, divides the screen in two horizontally, allowing the lower half to display the Object Editor, MIDI Editor, or any of nine other windows that were floated in previous versions. They can still be detached from the Docker and made to float, if you wish, or docked in other places, such as adjacent to the transport bar at the bottom half of the screen.

Not having used the previous version, I’m not sure how much of an adjustment the Docker will require for existing users, but it seems a sensible move to me. In general, though, I think it’s fair to say that Samplitude is still not a product of the minimalist school of software design. The mouse, for instance, can be switched between no fewer than 15 different tools, while there must be twice as many menu and submenu items as there are in Cubase or Pro Tools. Many things that are handled using drag-and-drop interfaces in other packages are accessed through dialogues — a typical example would be re-ordering the plug-ins on a mixer channel’s insert slots.

If you’re a fan of ‘streamlined’ interfaces such as are found in Presonus’s Studio One or Ableton Live, this might not be to your taste, but reflects the amazing density of features that are found in Samplitude and the thoroughness with which they are implemented.

Magix use the term Object to refer to what other manufacturers call ‘regions’, ‘clips’ or ‘events’: sections of an audio or MIDI recording positioned on a track in the arrange window. One of Samplitude’s key features is the extent to which these Objects can be manipulated independently of the track to which they’re assigned. Most audio packages now let you apply fades and overall gain adjustments to individual clips, along with offline destructive effects processing, but Samplitude’s audio Objects go much, much further.

They can have their own real-time insert effects and aux sends — all of which, along with the Object’s output level and pan position, can be fully and graphically automated, and stored as presets. They can be pitch-shifted and time-stretched, and you can even set an existing Object to refer to a completely different source audio file, should you wish.

It really is no exaggeration to say that it is perfectly possible to mix an entire multitrack recording using only Object-based processing, and many Samplitude users do just that, using the mixer only for subgrouping and bus processing. The advantages of this approach are many. If you decide to pick up an Object and move it to a different track or time position, all of its associated Object-based effects and automation simply come with it.

In a post-production environment, it allows complex projects with thousands of sound effects to be handled using just a few tracks. And, of course, Object-based effects are only active when the Object is actually being played back, so it’s typically a very CPU-efficient way of doing things — and if you do run out of CPU power, you can easily render them.

Here’s a simple real-world example where Object-based processing proved handy when I used Samplitude to mix a soundboard recording from a gig.

About halfway through the show, the live sound engineer had applied a gate to the tom mics, which I was receiving post-fade from his desk. As a result, the first half of each tom track was recorded with spill, and the second half without.

In Samplitude, it was trivially easy to split these Objects at the relevant point and apply my own gate as an Object effect to bring the first part into line. Object-based processing is handled using a window called the Object Editor, which is among those found lurking in the Docker, and can be resized and displayed in various formats. The Object Editor follows selections made in the main arrange window, so if you happen to click on a different Object, it will switch to showing that Object’s parameters.

The revamped Object Editor. The automation visible on the selected Object is controlling its output level, rather than the channel fader on the track, and will follow it when the Object is moved. The Object Editor has been significantly modified in Pro X. Previous versions used conventional Copy and Paste commands to transfer settings from one Object to another.

These have been swept away, and in their place are four snapshot ‘slots’, each of which stores an entire configuration of effects, EQ, gain and so on but not automation. To transfer one Object’s settings to another, you simply Shift-click on one of the slots to store the settings, select the new Object in the arrange window, and click on the slot.

You can also use the four slots to audition different processing chains. Or, to give a more complex example, suppose you were faced with a vocal recording that suffered both from sibilance and pops: you could set up three different snapshots, one with your usual vocal processing chain, one with a high cut to tame sibilance, and one with a low cut to tackle the pops. You could then slice up the vocal take wherever you encountered a sibilant or a pop, and apply the relevant snapshot to each of the resulting Objects.

Better still, Object settings can be saved to disk and recalled for future use though not, puzzlingly, by right-clicking on the slots , allowing you to build up a library of settings for different types of source recording, or to share them across multiple mixes from the same recording session. This is simply excellent. One of the great things about Samplitude is that it rarely attempts to force you into a particular way of working.

So if you’d rather forget all about Object-specific parameters, you still have access to a very well-specified mixer, with inserts, aux sends, panners and so on, not to mention nice touches such as a Mono button in the master section and a gain pot at the top of each channel.

Routing seems pretty flexible, with the usual limitation that you can’t send or output a channel to itself, but there are a few quirks that you need to watch out for. One is that although automation in general is sophisticated, for some odd reason it’s not possible to use automation to switch plug-ins in and out of bypass — a strange omission in a program that is otherwise so powerful.

A more fundamental issue is that in both the Mixer and the Object Editor, most of Samplitude’s built-in plug-ins are handled differently from third-party VST or Direct X plug-ins yes, Direct X is still supported! Should you wish to change the order in which they affect your signal, you’ll need to open a Routing dialogue, and even then it’s not possible to have, for instance, a Samplitude EQ sandwiched between two third-party VSTs.

This being Samplitude, there are, of course, gazillions of routing options, so this doesn’t seriously impair its flexibility, but it does add apparently unnecessary complexity. Magix told me that the reasons for this are historical. As well as saving Object snapshots to disk, Samplitude can also store effects chains and channel routing presets, and these can be loaded in either the Object Editor or in Mixer channels. However, unlike Object snapshots, effects chains don’t include the built-in processors, and it does seem rather cumbersome to have three different sets of files, in different incompatible formats, for what are basically variations on the same thing.

It would be better to have just one kind of file, and either ignore any Object-specific parameters when such a file was loaded in the Mixer, or allow the user to choose which elements get imported, as you can with Pro Tools’ Import Session Data function. In previous releases, support for surround mixing was one of the features that separated Sequoia and the full-blown Samplitude Pro from the mid-priced Samplitude.

The rethink of the Samplitude product range mentioned earlier means that it has now been incorporated into Pro X: so, not a new feature, but new at this price level. A variety of common output formats are catered for, and a number of core Samplitude effects processors can work across up to six channels, including the Room Simulator convolution reverb.

To make use of them, there are surround buses and auxes as well as a surround master output. As yet, however, there are no surround audio tracks or Objects, so to create a surround mix, you’ll need to pan mono or stereo tracks within a surround bus.

This being Samplitude, surround panning can of course be done at the Object level as well as at the track level. Objects that are routed to the Surround output bus bypass the conventional mixer by default, but it is possible to have them feed both a surround bus and a stereo bus.

Each of the four MIDI tracks is feeding the multitimbral Independence sampler on a separate MIDI channel, and each shares a mixer channel with the stereo return carrying its own sound. Mention of the Mixer leads me to another good example of the way in which Samplitude tries to cater for every possible circumstance, this time relating to the way in which software instruments are integrated into its mixer.

In other applications, there are two typical approaches. Some offer instrument tracks, which behave as MIDI tracks for the purposes of recording and as stereo audio tracks, carrying an instrument’s output, for those of mixing, routing, automation and so on. These economise on screen space and locate all the information relating to that instrument in a single place, but don’t tend to work well with multitimbral VST Instruments, where you typically need several MIDI tracks feeding the same instrument, which in turn outputs on multiple stereo channels.

As a result, many host programs take the alternative approach of allowing instruments to be hosted in a separate virtual space, such as Cubase’s VST Instrument rack, fed by MIDI tracks and outputing on some variety of audio channel into the mixer. This is a much more versatile arrangement, but can be confusing and messy, with no clear association between MIDI tracks and the audio outputs they are responsible for.

Samplitude’s approach arguably represents the best of both worlds. All MIDI tracks are akin to what Pro Tools or Cubase call ‘instrument tracks’, in that as well as allowing you to record and edit MIDI data, they have an audio path which behaves exactly like that of a conventional audio track.

At this point, Samplitude will ask you whether you wish to have that instrument treated as a simple stereo-out device, or whether it has multiple outputs that should be split out across several tracks.

In the latter case, there are several ways in which things can be arranged. You can, for instance, choose to have separate tracks for MIDI and for an instrument’s audio outputs, as in Cubase; but you can also arrange things so that each audio output from the instrument is returned to the same track that contains its corresponding MIDI data — in effect, allowing a multitimbral instrument to be treated as a series of ‘instrument tracks’.

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The newer Soundpools purchased through the “Store” are all the new Magix proprietary format with the extension mxcogg. Excellent bundled plug-in library.

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