Samplitude Pro X opinions

[keyman_sam]

Good question.

Reaper also has object-based editing and I use it all the time.

#1. For non-static tracks object based editing helps when you want just a part of the synth line to have reverb/delay or reverse it to make it more interesting.

#2. You can render a midi clip into a wav file and preserve it. If you want to make effected copies, you can do that, and choose the best take. All in the same track. i.e. apply various effects to the same clip, as various takes, and choose between them.

#3. Little things like volume, panning, pitch correction can be done on objects/clips. Very useful for 'even'ning the volume of a vocal track. Instead of automation you can use per-clip editing.

And in general it helps to cut down the tracks.

[siriusbliss]

Samplitudes objects are real time, so they can also be automated.

Also, with track based paradigm / approach in Samplitude, the one big object in the guitar track is still an object, so you can apply any effects, inserts, automation, etc to the main object and then move it around to other tracks, clone it, flip it, invert it, or whatever -all non-volatile, so it's much more flexible that way.

Also, each object can be frozen, or rendered out to off-line stems that can be drag-copied to other projects in parallel.

Plus, it's all very FAST editing since you don't necessarily have to automate everything INTO a track.

G

[Hink]

I was surprised to see on magix forums that some mix using the objects

[Jim Roseberry]

I was surprised to see on magix forums that some mix using the objects

Liken Object based editing/mixing to "snap-shot" style automation.
Works well for anything that doesn't need constant "riding"...

[KBSoundSmith]

OMG, my mind just got blown

I'll just explain what I did and hopefully anyone as new as me to object editing will be equally pleased with what can be done with this method. (sorry to anyone for whom this is common knowledge...)

1.) I froze a MIDI object (Diva instance) into an audio object.
2.) Then I compressed and EQed it using the object editor. I froze the same object again.
3.) I added chorus on what was now a fresh slate on the same object. I automated for that clip only, then froze again.
4.) Then I added an instance of a CPU-killing B2 reverb preset, automated for that clip, then froze again.

In other words, by using only the object editor on this one clip (object), I was able to have several quickly rendered object layers of effects and automation, all of which could be undone at any time of my choosing. This took seconds to do, never required me to touch the mixer or the track inserts or busses or aux. sends, and what otherwise would have been an extremely resource intensive operation for real-time playback instead took no resources whatsoever.

[Andywanders]

I've gone from Logic to to Cubase then to Studio One, where I am now. Never really been 100% happy since leaving Logic.

But I tried this (ProX) and I like it a lot.

I will definitely buy it as soon as it has VST 3 support.

Magix, you have my word: The moment you announce that Samplitude Pro X supports VST 3, you will have a new customer.

Until then, I'm keeping my cash.

[siriusbliss]

I've gone from Logic to to Cubase then to Studio One, where I am now. Never really been 100% happy since leaving Logic.

But I tried this (ProX) and I like it a lot.

I will definitely buy it as soon as it has VST 3 support.

Magix, you have my word: The moment you announce that Samplitude Pro X supports VST 3, you will have a new customer.

Until then, I'm keeping my cash.

I have no idea where VST3 may sit in Magix development plans since I presume most of their resources are set on getting a Mac version built.
And no, I don't know when the Mac version will be ready.

G

[siriusbliss]

OMG, my mind just got blown

I'll just explain what I did and hopefully anyone as new as me to object editing will be equally pleased with what can be done with this method. (sorry to anyone for whom this is common knowledge...)

1.) I froze a MIDI object (Diva instance) into an audio object.
2.) Then I compressed and EQed it using the object editor. I froze the same object again.
3.) I added chorus on what was now a fresh slate on the same object. I automated for that clip only, then froze again.
4.) Then I added an instance of a CPU-killing B2 reverb preset, automated for that clip, then froze again.

In other words, by using only the object editor on this one clip (object), I was able to have several quickly rendered object layers of effects and automation, all of which could be undone at any time of my choosing. This took seconds to do, never required me to touch the mixer or the track inserts or busses or aux. sends, and what otherwise would have been an extremely resource intensive operation for real-time playback instead took no resources whatsoever.

Wow, that's a lot of freezing!
You can use aux sends on the track for the reverb.
It's also possible to freeze the aux return channel on an open track in 'mid-air'.
If you're running out of resources, try adjusting you buffer settings and/or use the hybrid engine.

G

[KBSoundSmith]

OMG, my mind just got blown

I'll just explain what I did and hopefully anyone as new as me to object editing will be equally pleased with what can be done with this method. (sorry to anyone for whom this is common knowledge...)

1.) I froze a MIDI object (Diva instance) into an audio object.
2.) Then I compressed and EQed it using the object editor. I froze the same object again.
3.) I added chorus on what was now a fresh slate on the same object. I automated for that clip only, then froze again.
4.) Then I added an instance of a CPU-killing B2 reverb preset, automated for that clip, then froze again.

In other words, by using only the object editor on this one clip (object), I was able to have several quickly rendered object layers of effects and automation, all of which could be undone at any time of my choosing. This took seconds to do, never required me to touch the mixer or the track inserts or busses or aux. sends, and what otherwise would have been an extremely resource intensive operation for real-time playback instead took no resources whatsoever.

Wow, that's a lot of freezing!
You can use aux sends on the track for the reverb.
It's also possible to freeze the aux return channel on an open track in 'mid-air'.
If you're running out of resources, try adjusting you buffer settings and/or use the hybrid engine.

G

Thanks for the tips, I still have to explore all of the options of the object editor, and I haven't experimented with the aux sends yet. That's pretty cool that the aux send can be frozen.

I guess the point I was trying to make, and probably wasn't very clear about, is that the object editor, when frozen, creates a fresh slate of the object editor where additional processing can then be used, and that it is possible to cascade processing. By unfreezing, you can go back to the previous state of the object editor, with it's different processing available again.

[Hink]

OMG, my mind just got blown

I'll just explain what I did and hopefully anyone as new as me to object editing will be equally pleased with what can be done with this method. (sorry to anyone for whom this is common knowledge...)

1.) I froze a MIDI object (Diva instance) into an audio object.
2.) Then I compressed and EQed it using the object editor. I froze the same object again.
3.) I added chorus on what was now a fresh slate on the same object. I automated for that clip only, then froze again.
4.) Then I added an instance of a CPU-killing B2 reverb preset, automated for that clip, then froze again.

In other words, by using only the object editor on this one clip (object), I was able to have several quickly rendered object layers of effects and automation, all of which could be undone at any time of my choosing. This took seconds to do, never required me to touch the mixer or the track inserts or busses or aux. sends, and what otherwise would have been an extremely resource intensive operation for real-time playback instead took no resources whatsoever.

Wow, that's a lot of freezing!
You can use aux sends on the track for the reverb.
It's also possible to freeze the aux return channel on an open track in 'mid-air'.
If you're running out of resources, try adjusting you buffer settings and/or use the hybrid engine.

G

Thanks for the tips, I still have to explore all of the options of the object editor, and I haven't experimented with the aux sends yet. That's pretty cool that the aux send can be frozen.

I guess the point I was trying to make, and probably wasn't very clear about, is that the object editor, when frozen, creates a fresh slate of the object editor where additional processing can then be used, and that it is possible to cascade processing. By unfreezing, you can go back to the previous state of the object editor, with it's different processing available again.

have you tried revolver tracks yet?

[Sequent]

Sounding better all the time. Object editing and multiple freezing sounds great as well.

As for fast startup and closing... Cubase seems to take forever to close, that is... unless it crashes... which is instantaneous, lol. But then you have to reboot the system and start from scratch because it usually does not respond to end task.

Samplitude Pro X is a great DAW, I have it on my system.

Very stable, and snappy. Also boots pretty and closes pretty fast. the GUI, flexible editing windows are cool too, you can master your production completely within Samplitude Pro X, Spectral Editing is great if you need to remove unwanted noise in a recording. It has a lot of features I still have not discovered, since I'm just starting to get to know it.

It offers something unique, which is Object Oriented Editing. I have not used it to produce anything yet, since my primary DAW is Cubase 7, but I will begin using Samp.Pro X more as I get more time to dive into its features, and workflow.

One thing I was wondering about Object Editing, and that is :

Do traditional music productions need Object Editing ? i.e. Let's say you have a Guitar Track, on other DAWs you can edit the guitar track's Effects Plug-ins, tweak EQ, Comp., other Effects, ...etc. But when you have an Object Editing feature, you can insert any effects on portions of the track (Regions of a track), and each region can have its own effects, so each region can be an independent object that you can add effects to, which is very cool, and powerful. But... Does is this needed ? i.e. Why would a producer put different effects on a Guitar track ? Wouldn't that make it sound un-natural, unless you are aiming for special effects type of sound.

Can someone enlighten me as to when is it very useful, to use Object Editing on a track ?

Is it mainly good for special effects in electronic music ? or sound effects design ? ... or am I missing the way Obj. Editing is supposed to be used from a production perspective.

Your feedback would be very interesting, and helpful.

Thanks,
Muziksculp

[Sequent]

I used the "group" coupon, and the regular "forum" coupon I believe also applies. I think I used group, brought it to $211.

Thank you for this info!

[ObsoleteAcc99]

[DELETED]

[Dunc]

I live in UK and would like to get the crossgrade download from JRR or Florida.
Anyone done that and are they (Magix and JRR/Florida) ok with someone getting this outside of the USA ?

I don't want to go ahead and buy this and find that Magix will not honor the license as I didn't get a "European" version.

Any info/help appreciated.

[budweiser]

Good question.

Reaper also has object-based editing and I use it all the time.

#1. For non-static tracks object based editing helps when you want just a part of the synth line to have reverb/delay or reverse it to make it more interesting.

#2. You can render a midi clip into a wav file and preserve it. If you want to make effected copies, you can do that, and choose the best take. All in the same track. i.e. apply various effects to the same clip, as various takes, and choose between them.

#3. Little things like volume, panning, pitch correction can be done on objects/clips. Very useful for 'even'ning the volume of a vocal track. Instead of automation you can use per-clip editing.

And in general it helps to cut down the tracks.

An essential feature in samplitude is that when you have an audio object with efx, like reverb, comp, etc, these efx do not consume cpu when the object is not playing. You can have a session with 150 aether or B2 reverb on an old computer without a glitch (intended they do not play at the same time), and it's really convenient.