Many older model may be damaged by phantom power. The newer ones are resistant. Dynamic microphones are excellent for live performances and loud instruments, while condenser microphones are very good for the studio due to their sensitivity.

Ribbon microphones are great for warm vocals as well as strings, such as a cello. There is no right or wrong choice, since this is an individual question. At the end, all roads lead to Samplitude or Sequoia.. With their multiple updates and features, Music Maker and Samplitude Music Studio are a must-have in the production toolbox, for learning the basics before getting to the professional lineup.

Derek started down an IT, multimedia, and music pathway at a very young age, taking in nine years of private training in classical piano performance and composition. He worked and trained as a PC hardware technician, worked in broadcast as an editor, graphics specialist, and videographer, and possesses over 20 years of experience in computing technology. Derek still works very closely with MAGIX and supports their organizational goals through product testing, reviews, collaboration, and by real-world application of specific MAGIX titles.

This tutorial will help you get started using Samplitude and provide you with efficient workflows for common application scenarios. We’ll show you all news. The number of Music Maker downloads has hit the 2 million mark! Learn everything you need to know about the free version here. A short interview with the French techno producer Cyril Picard about his musical roots and producing using Music Maker.

B Close. All is backed upon on “installation USB drive” I have all my installation files, nicely categorized, for all my software on an almost full 1. It’s been a lifesaver the couple of times I’ve had to do a clean install. I’m a sort of semi-retired senior scientific anal yst and you can’t spell the last word without the first four letters!

Yep, I got the notice when I launched it yesterday. I’ll be playing seriously with it the next couple of days on a project I’m doing for my parents’ 60th Wedding Anniversary. Good luck and tell them Congrats! My Brother is in Hawaii with wife doing their 50th Larry. FYI it’s been extended to 26 Dec, I assume there were enough moths to the flame like me to make it worth while.

I have looked and don’t see it can you post a link please. Sample tank 3,Kontakt. TC Helicon Voicelive 3 2. Previous Topic Index Next Topic. Print Topic Switch to Threaded Mode. August 08, August 03, July 27, July 25, A 5-STAR reveiew – wow! July 18, July 16, Great news! July 14, What are you looking for? Search Site. International Band-in-a-Box versions – Band-in-a-Box. Other ways to find help. FAQs, videos, online manuals. Toll Free Lines. Current time is: One of our representatives will be happy to help you over the phone.

Read on for all the technical specs… Official Information Samplitude Pro X3 Samplitude Pro X3 provides experienced musicians, sound engineers and producers with a complete environment for creative audio production. Best freeware of the month: August And both of these manufacturers seem determined that will be the year when this situation changes. 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. 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 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.

Step 1 — Verify the license is activated. If they are activated, proceed to Step 2 below. Step 2 — Verify plugin software is correctly installed. If the plugins you are looking for are not in the above folder, install the plugins by following the instructions in this link.

 
 

– From Music Maker to Samplitude Music Studio

 
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. Lean, minimalist and newly developed, Studio One embodies a lot of current ideas about user interface design, and feels very easy to get to know. Start new topic. This content is not available in your country. Spectral editing at the track level: this accordion part contains clattering noises that are even more unwanted than the accordion itself!

 

Review: Samplitude Pro X3 :

 
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. Magix told me that the reasons for this are historical. International Band-in-a-Box versions – Band-in-a-Box. Music Studio is bit compatible and uses the full advantage of additional RAM and system resources during complex track editing. Previous Topic. Few of these plug-ins are seriously restricted in terms of functionality, either, and I never found myself wishing for controls that were absent.

 
 

Samplitude Pro X3 Suite – PG Music Forums

 
 
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. 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. Magix is also the company that bought up Acid Pro, Vegas, and SoundForge which was actually one of the very first audio editors I used way, way back.