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Oct 27, - magix samplitude pro x suite Software from the 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'.
You can even choose to have several audio outputs returned to a single track, or a single output duplicated across multiple tracks. In fact, until you get used to it, it's rather easy to do this by accident! And nearly all of this can be set up either from the mixer itself, the track inspector in the arrange view, the interface of the virtual instrument, or the dedicated VSTi page of the Docker.
I know of no other implementation which can compete for flexibility, and the ability to retain the association between MIDI tracks and audio outputs even with multitimbral instruments is an invaluable aid to 'mixer hygiene'. Pro X is the only Windows DAW that currently includes a fully featured software sampler at no extra cost. Samplitude's neat handling of multitimbral instruments comes into its own with the newly included Independence sampler.
Fundamentally, it doesn't appear to have changed a great deal since version 2, and the integration into Samplitude mainly involves mundane things like eliminating the need for additional copy protection. Rather than describe its complex workings in great detail here, I'll refer readers to those previous reviews; so far as the program itself goes, suffice to say that it's a very powerful and flexible software sampler, albeit with a few design quirks.
The version of Independence that comes with Pro X is not in any way crippled or limited, and can be used to create as well as play back sampled instruments. This makes Samplitude the only Windows recording package I know of that comes with a fully featured sampler at no extra cost: a pretty major bonus when you consider that buying Avid's Structure or Steinberg's Halion 4 to complement those companies' DAWs will set you back several hundred pounds dollars.
In this day and age, however, not too many people seem to do their own sampling, so it's likely to be the factory library bundled with Independence that sees the most action especially as there are few third-party libraries available in its own format. At 12GB, the library bundled with Pro X is pretty generous in size, though it actually provides fewer instruments than, say, the 6GB library you get with Steinberg's Halion Sonic.
And, in general, its contents reflect what Robin Bigwood said in his review of Independence 2: what there is sounds excellent, but quite a lot falls into the category of 'what there isn't'. So, for instance, there are strong drum kits, a fairly good acoustic piano, superb electric basses, a really good solo saxophone with all sorts of keyswitched articulations, more nice pop brass, surprisingly good church organs, an interesting selection of ethnic percussion, and a lot of electric and acoustic guitars.
But what you gain on the roundabouts, you lose on the swings, or, rather, the strings: there are no string or wind instruments at all, no double basses, no drawbar organs and no usable to me electric pianos. This seems odd, and means that most people will probably want to augment Independence with additional instruments, or upgrade to the full 70GB Premium version bundled with Samplitude Suite — although, unless this has changed since Robin's review, it won't completely fill the gaps.
Incidentally, it seems that in the longer term, Magix's takeover will not mean the end of Independence as a stand-alone product, nor of further development. Although the former Yellow Tools team are mainly working on that Mac port of Samplitude now, there will be an Independence 3 in the fullness of time, and it will be available in other plug-in formats.
Perhaps some of these curious holes in its sample library will be filled then. It's perhaps not as advanced as in an application like Cubase 6, but caters for most needs, with separate drum and piano-roll editors, and reasonably flexible quantising, velocity scaling, and so on.
New in Pro X are a basic MIDI Transpose function, along with functions to reverse a melody top to bottom or back to front — perfect if you are involved in a speed fugue-writing contest — and MIDI time-stretching, which allows you to quickly change the duration of a MIDI Object to fit a predetermined space. Pro X's new Tempo Track is actually an automation lane that can be displayed on another track of your choice.
Tempo changes are mirrored in the timeline by Tempo Change markers top or Grid Position markers below. The major new MIDI-related feature is the Tempo Track, which, confusingly, is not a track at all; tempo is actually an automation parameter which doesn't have a track of its own, but can be displayed as a lane on any MIDI or aux track. Samplitude was already capable of representing varying tempos and time signatures, but the ability to draw the former in graphically is a major improvement in usability.
There are now two possible ways of creating a tempo map to fit existing material, as tempo change markers can be switched between BPM and Grid modes. The latter is new, and means that tempo markers retain their musical bars and beats locations as you drag them around, providing a simple way to ensure that important bar and beat locations in your tempo map line up with the relevant points in a rubato audio or MIDI recording.
You can switch between the two modes at any time, and changes made in the Tempo Track are reflected in marker positions and vice versa. It's also possible to set the tempo by tapping, while the sophisticated Remix Agent introduced back in Samplitude 8 offers numerous ways to automate the process of either conforming a tempo map to a freely played drum part, or editing a rhythmic loop to fit a predefined tempo.
Should you wish to quantise a multitrack drum recording to a tempo grid, in the fashion of Pro Tools' Beat Detective, meanwhile, there's a versatile Audio Quantisation Wizard. Published by Admin. Prev Sony Vegas Pro Next Uninstall Tool 3. The blue screen of death issues are due to another memory leak. According to Microsoft, these occur when the software makes incorrect calls to memory. I think they may be hardware related, though.
Where the software hasn't been tested with enough vigor on different components. This is certainly the impression I got from staff. As for other DAWs, yes, none are perfect.
I have a few of them. Magix is the only one that doesn't open up it's own projects. I think it was you who asked somewhere about activating instruments in MusicMaker from the Music Studio and Samplitude Music Studio line.
I reported this to Magix. I don't think that I was able to activate using the Samplitude Pro X licenses either, but I'm not sure. The other thing is that you still can't activate instruments purchased previously through the Magix site, not ones purchased from the Store within the newer versions of Music Maker. I have reported this as well to Magix, more than once. They've done very well recently with Music Maker, ironing out many of the memory leaks that plagued it before, but the licencing of the instruments is needlessly complicated, in comparison to other companies licence VSTs.
And the same can be said of the loops, where supplied free loops are not professional licence versions and you either can't buy professional licences, or their continual renaming of products makes it impossible to find the professional licences. I've been caught out a few times spending months on projects, to find that certain loops are not available professionally, and Music Maker then won't reopen the projects, so they can be changed.
At this point, it's not possible to export the tracks to another DAW. Everything is lost. Ok, thanks John and also sorry to hear that I don't recall if I ever purchased anything from the store in past, its been awhile. Maybe I'll do an email scan, but they probably don't send email out after store purchases. Wouldn't they show up in in acct at Magix though?
If not, they should, a "Store Purchased Content" section in user acct at Magix. Sorry to hear about those problems for you. Maybe it is indeed an isolated issue with some particular hardware See, thats the issue with PC, unlike Apple, there are a million hardware configurations and suppliers out there for a PC, and I would imagine its impossible to pre-check them all. Hope you get it figured out. The "Store" within the newer MusicMakers and did not exist before.
To purchase additional instruments, one went and still can go to the Magix. These worked with Music Maker and the Samplitude line. Upon purchase, there is an activation code given and it is in a confirmation email.
It is these that I am talking about, not the ones purchased through the "Store" within MM or From Wikipedia, the free encyclopedia.
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