Why do people even buy Samplitude?

[Tux]

Samplitude's a fantastic piece of kit. Don't know why the OP's complaining about price. I paid zilch for mine. The silver version is free, so long as you don't mind Magix spamming you for the rest of your life. Upgrade path is cheap if you want more features. I use it for mastering. You can't beat it for the price!

[mewthree]

It was 64 but I increased it to 100 something, It's okay now. It's just that I was curious I didn't had any problem in Live with 64.

[Hink]

I've never encountered lower latency in any DAW/Host by increasing the sample rate, If anything increasing the sampling-rate would increase the strain on you computer's resources.

I'm not expert with Samplitude or Sequoia but I'm sure both have options/preferences to switch monitoring whilst tracking oppose to when mixing to get the best performance for each task. I'm certain one of the long time Sam/Seq user's can confirm this and how it is labelled.

The stock MAGIX plug-in processors and effects plug-ins to my ears and very limited experience sounded really top-notch plus were easy to operate including when operating them in 'expert' mode, The uniform look is really a plus point in my humble books too. I do not know about the virtual instruments since I used my own 'go to' stuff but from what I have read they are more than just serviceable, Including threads here on KVR. The only negatives I have heard really is some having issues with Independence but not with Samplitude itself but when bought as a separate VI for use in their DAWs of choice, Not even relating to the instrument itself but rather authorization problems IIRC.

Why would someone use two separate DAW applications? Its simple and has been pointed out already, I am a big Live fan as it offers so much in a way nothing else does with such ease but it really is for my needs lacking in areas where more traditional DAWs excel, Since for me personally I've used Pro Tools the longest out of any other audio application, That is what I also use for the areas where Live doesn't do it for me and the two make a really great compliment to one another, Each inspires a different way of approaching tasks that overlap, Obviously I utilize PT for its editing and mixing capabilities/ease of use/layout which is simply what is fastest for my personal workflow, Sub PT out for Samplitude, Sequoia, Cubase, Nuendo, Logic, SONAR, Studio 1, Digital Performer, REAPER...etc. for the same idea/principles behind using two separate DAW applications

I believe the reality today in the case of nearly every modern digital audio workstation is they are very complex, all covering the same set of features pretty much, Just worded/termed and implemented differently along with the layout/GUI differences and that is perhaps the single-most reason we as users stick to one over many other options all equally as capable. Creatures of habit so to speak, Well that is speaking for myself anyway.

Once I am unable to use Pro Tools v10 any longer I will be looking to switch to a different DAW for audio editing and mixing duties as I really do not like what AVID have done, Samplitude will be high on my list of replacements when that bridge comes and I must cross it. I'll be rinsing through kraznet's videos and asking many questions too. Until then I just stick to what I know

Cheers and all the best to all

Dean

Dean, Samp has what they call a Hybrid engine and economy which offers different settings depending on your monitoring desires.

[Dean Aka Nekro]

Thanks John for the information and screenshot, It does look very good and as flexible/comprehensive as anything I am aware of, If not more so.

I must say that Samplitude gets more appealing everytime I talk about it with user's and even in a coincidental manner like this where you are just clearing up the monitoring options I was attempting to get at, It goes beyond what is found under most application's preferences

Thanks dude

[EnGee]

Why do you use Sonar as your second daw anyway? I'm using Live and only the thing it lacks is audio editing, multi-track piano roll view and unable to save your midi logs. Perhaps post-production: mixing and mastering?

I'm asking myself the same!
Well, because I'm still learning Live, so I keep using Sonar sometimes (because I came from Linear DAWs environments/workflow). I'm discovering the great benefits of Live for me, and I'm mixing the two kinds of workflows (non linear, linear) in a good way. So, hopefully I won't need anything other than Live in the future (mixing is possible as well in Live, but I won't touch mastering, it is not a nice hobby!).

I'm trying it and I have a basic problem in Samplitude. When I'm playing piano through a midi keyboard with 64 buffer size in Live I don't get any lost buffer errors or glitches. But Samplitude keeps displaying Lost Asio Buffer and it constantly rises.

I think 64 buffer size is too small, try to raise it to 128 or 256. Mine is about 84 (2 ms) and I'm using Focusrite Saffire 6 USB. This is not a problem as I can raise the buffer size and get rid of the warning.

And what are the DSP and MAX percentages on the left bottom panel?

And is it possible my onboard sound card can't handle 90khz audio instead of 44? When is switch to 90k in order to reduce latency I playback sounds changes.

I only use 44.1Khz as a sample rate. I don't need or care of the higher sample rates benefits

[Kraznet]

Samplitude can be a bit more sensitive to lower buffer settings on some computers. In this situation you would get a "Lost ASIO Buffers" message at the bottom right-hand corner. You may find you need to raise the ASIO buffer to overcome this. Also tweaking the motherboard bios power saving settings and the Windows power options can sometimes improve the situation.

Having said that there's a couple of guys on the Samplitude Forum who run professional studios and they were having problems with the RME MADI FX PCI-E card causing lost ASIO buffers and being unable to work below 128 samples. Initial blame was probably laid at the door of MAGIX. But RME have just released a new driver and they admitted they had managed to halve the DPC latency with the new driver. One of the guys who was having problems has just done a session since updating the driver recording 20+ audio tracks @ 88.2Khz using the lowest buffer setting which in the case of the RME MADI FX is 32 samples. The other guy who was having the problems has also been recording at 32 samples since.

The thing about lost ASIO buffer messages is that Samplitude is the only DAW which displays this kind message and in many cases, although you may see this message you won't hear anything detrimental. Whereas other times you may see the message and also hear clicks and pops. (it is possible to turn off this message as well although I've never tried it ). But it's possible that in the case of other DAW's that they may be dropping ASIO buffers sometimes, it's just that they don't alert you of it. . Then you need to rely on your ears and be on the lookout for crackles and pops.


Regards
Kraznet

[mewthree]

Thank you Kraznet. Firstly for your detailed reply in this thread an your general help videos. I would like to know more about you. Are you composing or producing?

What you wrote in your last paragraph was what I had figured out. I asked to Hink phrasing it as "Does Live reduce quality in order to smooth the playback?" which is the same thing what you described. Because technically It doesn't make any sense for one daw to do it and other not to. And It's a better explanation then Hink's being Samplitude being a external audio recording DAW. Not that this information is wrong, it's just it wasn't the cause of my problem.

Since that Samp latency issue is specific only to that card I don't think MAGIX should be the blame, glad they got over it.

I don't do audio editing much and know it's capabilities. Do you think would it work in ambient and goa based electronic music. I just don't understand how audio editing can play a major part in computer-based productions. Sure it's useful in external records like Hink said but would it have it's uses in internal productions? Then again art is the doing of a master not the tool, but I'm always enjoying ideas of experienced people.

[nix808]

I quite like the audio editing paradigm.
Focussing on a waveform is quite different to scoring in a DAW obviously.
I can think of five applications of audio editing very relevant to rounding skill in finishing tracks.
things to do while composing->
Cutting loops/sampling picks(for use in a sampler)
Chopping/glitching(I used to do this, but don't really anymore)
creative fx
post-production->
mastering
error correction(fix dc offset,declick)

I use an audio editor, at least for mastering,
in my Techno productions which include the odd Trance line.
I think cutting loops out of mixdowns for resampling,
and taking picks(single notes) that have interesting qualities would
be an option in Goa

[mewthree]

Thanks for your feedback, nix. It's been appreciated.

[Hink]

Thank you Kraznet. Firstly for your detailed reply in this thread an your general help videos. I would like to know more about you. Are you composing or producing?

What you wrote in your last paragraph was what I had figured out. I asked to Hink phrasing it as "Does Live reduce quality in order to smooth the playback?" which is the same thing what you described. Because technically It doesn't make any sense for one daw to do it and other not to. And It's a better explanation then Hink's being Samplitude being a external audio recording DAW. Not that this information is wrong, it's just it wasn't the cause of my problem.

Since that Samp latency issue is specific only to that card I don't think MAGIX should be the blame, glad they got over it.

I don't do audio editing much and know it's capabilities. Do you think would it work in ambient and goa based electronic music. I just don't understand how audio editing can play a major part in computer-based productions. Sure it's useful in external records like Hink said but would it have it's uses in internal productions? Then again art is the doing of a master not the tool, but I'm always enjoying ideas of experienced people.

forgive me, you kept saying glitches so I thought it was more than just LAB messages

[mewthree]

I feel like I'm dragging this thread but here I go.

How would you compare Samp to DP in traditional composing or making soundtracks for film? I think for that purpose DP is the first choice? Though Hans Zimmer does use Cubase. I think... I shouldn't think.

[siriusbliss]

I feel like I'm dragging this thread but here I go.

How would you compare Samp to DP in traditional composing or making soundtracks for film? I think for that purpose DP is the first choice? Though Hans Zimmer does use Cubase. I think... I shouldn't think.

IMO because Samplitude has true object (or clip) editing, it's much faster to edit-to-film, since each object is self-contained with it's own EQ, effects, automation, etc, then it's real easy to just snap an object to a timing cue (marker), or to 'hotspot' objects to cue points, etc.

You're not really tied into a more linear track-based approach, so once you have one area of the score worked out, it can be easily replicated (or whatever). Especially nice to have object-based automation.

Plenty of 'high-end' users use Samplitude (and/or Sequoia) for film score, broadcast, dialog, etc.

G

[Skorpius]

Every DAWs are same practically.

Where did you get that from??? This is like saying "every car is the same".

A few examples:

- Editing Midi in Sonar is a disaster compared to Cubase or Studio One.
- Editing Midi in Motu's DP is a disaster compared to Cubase or Studio One.
- Try to set different Midi channels for different instrument tracks in Cubase: this is simply impossible - unlike Samplitude ProX or Studio One, where this is a child's play.
- Compare the audio quality of Samplitude (and Studio One) to that of Cubase: you'll most definitely notice a huge difference.
- Try splitting a single audio track in several slices and put different effects on each of the slices. You can do so in Samplitude, but you can't in Cubase or other DAWs.
- Compare the Midi randomizing features of Samplitude to those of Studio One or even Cubase: It'll be then, at the latest, that you'll know what a high-quality Midi editor is able to achieve.

If you're into plain electronic music, you might be happy working with a toylike DAW like Bitwig, in all its brown and orange "beauty". However, if you want to do serious audio recording and prefer quality over gimmick features, you want a professional DAW. This is where a product like Samplitude comes in.

[EnGee]

Every DAWs are same practically.

Where did you get that from??? This is like saying "every car is the same".

^^ This is a cool intro


but ...

A few examples:

- Editing Midi in Sonar is a disaster compared to Cubase or Studio One.

Reeeeeaaaally???

- Compare the audio quality of Samplitude (and Studio One) to that of Cubase: you'll most definitely notice a huge difference.

Right!

If you're into plain electronic music, you might be happy working with a toylike DAW like Bitwig, in all its brown and orange "beauty". However, if you want to do serious audio recording and prefer quality over gimmick features, you want a professional DAW. This is where a product like Samplitude comes in.

Your conclusion is saying it all!

[trimph1]

I knew someone would post that comment.

Do you really judge your music by the GUI?! Really?

I usually do it with my eyes closed...I want to listen to my piece of music, not see the 'professional' looking GUI....as opposed to the 'toylike GUI.

Good thing it was another DAW like Bitwig and not the usual one...FL