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With clever new tempo-mapping features and low-level Melodyne integration, time and pitch are now putty in the hands of Samplitude users! I came on board with Samplitude v8 in , impressed by the newly implemented MIDI drum editor, which remains one of my favourite features along with the still unrivalled Object Editor. Since then the program has developed steadily over the years whilst retaining the amazing audio engine that is its core strength.

One small enhancement will be apparent straight away: the start dialogue window has been given a graphical makeover and adds improved coherence when starting a new project. This dialogue will open by default when you launch Samplitude. You can access your templates and last-opened projects from this window, also create new multitrack projects and pre-name the takes for this new project.

You can also open existing projects or load wave files. There is also a drop-down menu at the bottom left where you can switch between different saved UI settings. Something I felt was lacking in previous versions of Samplitude was the ability to detect and adapt the tempo of audio beyond the base tempo of the project. This was particularly noticeable if you were utilising tempo changes within an arrangement.

MIDI objects would recognise and follow tempo markers, but the audio was left unaffected, therefore making these tempo-changing features less than useful. As soon as you import any audio into a project, transient detection is carried out in the background. Enable this setting and the audio clip will adapt to the tempo of the song. Crucially, MTA-enabled audio will now recognise multiple tempo changes.

Say, for example, a song starts with 16 bars at bpm, then changes to bpm at bar Importing an audio clip into the bpm section will adapt it to that tempo automatically, but if you import it to the bpm section, it will adapt to that tempo instead — something which was not possible in previous versions. Any future tempo changes will be detected and applied to existing MTA-enabled objects, as well. If the metronome is enabled, the loop will adjust to the project tempo.

If the metronome is off, the project will adjust to the loop tempo. For this to work, you need to have BPM enabled in the file browser. An audio object with Musical Tempo Adjustment enabled. Markers and automation curve show tempo interpolation from Bar 4 at bpm to Bar 6 at bpm, followed by a tempo jump to bpm at Bar 8. Suppose you have an existing project containing both audio and MIDI, and you decide to add an accelerando at bar 17 for four bars.

Begin by selecting all the audio objects, double-click to open the Object Editor and tick the Musical Tempo Adjustment box to prime the audio for tempo changes.

Now, to add tempo changes to the project, you need to have the tempo map set to BPM mode, a setting which is found in the Edit menu under Tempo. As soon as you close the dialogue box, you will see the VIP timeline adapting to the new tempo — and now, in Pro X3, the tempo interpolation will be applied to audio as well as MIDI, keeping everything in sync with the metronome.

So, now you can finally edit your minute prog-rock opus and flexibly incorporate multiple tempos and time signatures, with everything staying together.

BPM Markers are red, and will always show the assigned tempo for that marker. But Samplitude Pro X3 has another trick up its sleeve. Now, try grabbing one of these markers and dragging it left or right and you will notice that the audio is stretched or compressed either side of the marker. Also, if you enable a tempo track, you will see the project tempo map displayed as an automation curve. You can edit this curve with the mouse automation tools, drawing in any tempo changes you wish to add.

When automation nodes are added, tempo markers will be automatically placed at these points. Another new addition in Pro X3 is the ability to detect tempo within imported audio. To calculate the tempo, left-click on the downward arrow and choose Analyse Tempo from Audio Material. In my test, I imported a two-bar drum loop which I knew was at 67bpm. The calculation showed it as So, in this case one would need to manually correct the tempo by typing in 67bpm — and, although the detected tempo was only 13 ticks out, it would make sense to round these calculations up or down.

The BPM detection menu. Notice the question mark, indicating that the tempo of the object has yet to be analysed. The Samplitude Pro X3 package comes with a free copy of Melodyne Essential to get you up and running, but if you already have Melodyne 4 on your system, it will automatically utilise that version.

Previously, you could only use Melodyne as a VST plug-in in Samplitude, which could be a cumbersome process: you needed to transfer audio into the Melodyne editor in real time by pressing the transfer button and pressing Play in your DAW. Melodyne then scans the audio file faster than real time, with no transfer needed; once scanned, the Melodyne window will then open giving you access to its innovative editing and pitch-correction features.

If you then look at the Object Editor, you will notice that Melodyne has been automatically inserted into the effect insert slot.

One of the big advantages of ARA integration is that you can now position the play cursor anywhere along the Melodyne editor timeline, making it much easier to start playback in the right place when editing. You can then insert a virtual instrument on that track and double up the original audio with a synth sound of your choice. You can choose different skin variations, including the length of faders and nine mixer sizes to use with different screen resolutions.

He has also created a skin editor utility for enhanced customisation. The native Samplitude mixer skins Camo, Canis and Carbon have also received some Spyros treatment in Pro X3, and there is now a choice of four different-height mixer skins with different fader lengths, including a slim version.

One improvement I noticed is that previously, if you tried to make the mixer smaller by resizing, Samplitude tended to pixelate the graphics.

This has finally been fixed and resizing no longer causes corruption of the GUI. Also in previous versions, when you added tracks to a project you needed to manually resize the mixer to see the extra tracks.

This no longer happens and the mixer is resized automatically — a small but important fix that resolves what was something of a bugbear for me in the past. The Info Manager is divided into three sections. Project Commentary can be used for typing in notes about the project and is always visible, while Track Commentary works on a per-track basis: select a track and type in your info for that track in the text area — select another track, and the text area will be blank, ready for typing in info for the newly selected track.

Track Commentary thus gives you individual notepads for every track in the project. Object Commentary works in a similarly dynamic way, allowing you to type in notes for the currently selected object. When you select another object, the notepad will be blank and you can add a commentary for that object. As an example, if you have a project containing tracks you will have individual Track Commentary notepads for all those tracks — and if that project contains, say, audio and MIDI objects, the info manager will give you individual Object Commentary notepads, one for each of the objects.

Info Manager notes are saved with the project. Bearing in mind there is already a comments section at the bottom of the Track Editor and in the Object Editor, you should never be short of places to make notes! If you activate the Show on Start tickbox, this window will pop up every time you open the project. The Info Manager seems to interact with these other comments sections, which is good. The Sony acquisition also included the current software development team, so it will be interesting to see what the future brings for these products.

In my previous Sound On Sound review of Samplitude Pro X2 I bemoaned the lack of audio warping features; Magix have finally addressed this in Pro X3 and, along with the implementation of Melodyne ARA, I feel this alone is worth the upgrade price, although there are plenty of other attractive new additions.

Samplitude Pro X3 feels like a very well-rounded release, and I look forward to future developments from the talented team in Dresden, Germany. The Suite version of Samplitude Pro X3 includes a number of handy mastering add-ons that were previously only available in the very expensive Sequoia The idea is that these allow you to preview how your mix will sound once encoded, in real time and without having to bounce the project.

The MP3 Preview plug-in gives you a selection of quality settings, from 48kbps at Hz up to kbps at The AAC Preview plug-in has five different encoder types and four quality settings, and can encode bit rates from kbps up to kbps.

Once you have chosen your preferred encoder quality, whether it be MP3 or AAC, you have two choices when it comes to making your final lossy master. The other option is the much faster offline bounce, but in this situation you would need to bypass the Encoder Preview plug-in and replicate your encoder choices in the Format Settings of the bounce dialogue window. This is not ideal from a workflow point of view, so perhaps in a future version it would be good to have an option to transfer the encoder settings from the Preview plug-in to the Bounce dialogue.

All in all, though, this is a very useful addition, although you will need to upgrade to or buy Pro X3 Suite to benefit from it. The same is true of the DDP export feature, previously only available in Sequoia but now included in Pro X3 Suite due to popular demand.

You can also import existing DDP projects from the File menu. In total, the Suite version of Samplitude now comes with a total of 24 virtual instruments including the full Independence Pro 70GB sample library. The non-Suite version of Samplitude comes with 20 virtual instruments which includes the Independence sampler but with just a 12GB library. There is even an accordion VSTi so you can finally compose your Volksmusik concept album. What do these Vita instruments sound like?

Pretty decent, I would say. They may not replace some of your favourite third-party VSTis, but they certainly have their own character and flavour which will add colour to any composition. I do have a couple of criticisms about the Magix virtual instruments, though. Quibbles aside, though, you get a pretty impressive collection of virtual instruments regardless of which version you buy, giving you an extensive set of tools for composition and production right out of the box. It comes with a good selection of presets, but initially, you can only use the first eight of these.

Pros Musical Tempo Adjustment. Melodyne ARA support. Skin enhancements. Bundled extras represent good value. Cons Lack of mouse wheel control and automation parameter naming for Magix Instruments.

Melodyne ARA docking not implemented. Prices include VAT. Buy PDF version. Previous article Next article. Active topics Anyone ever used a Nail Bar?

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Magix Samplitude Pro x3 Suite System Requirements · Memory (RAM): 2 GB of RAM required. · Operating System: Windows 7/8//10 · Processor: 2 GHz. Hard Disk Space: 2 GB of free space required; Operating System: Windows 7/8//10; Processor: 2 GHz Intel Pentium processor or later. Memory .


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It also contains a library of 70 gigs. Читать to content Multimedia 0. Close Privacy Overview This website uses cookies to improve your experience while you navigate through the website. Swmplitude with a посмотреть еще user friendly and clean user interface which will help you find everything that you need quickly. Over the past 25 years, Samplitude Pro X3 has set new standards in audio production.