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A VCA Master channel really only needs to contain a fader plus solo, mute and automation buttons. Somewhat confusing is the fact that the VCA Master channels have insert slots, auxiliary sends, EQ and so on, even though there is no audio passing through them. At this point, Samplitude doesn’t support nested VCA groups, although this could well be implemented by the time you read this review. It’s also possible to use volume automation on the VCA Master.

A feature unique to Pro X2 (and Sequoia) is ‘Ghost Faders’: as you move the VCA Master fader, the original levels remain in the form of a solid fader cap and the new level is shown as a ghost fader.Īt its most basic, one could assign all tracks in a project to a VCA master and thereby adjust the overall level with one fader while maintaining the relative balance of each source. Soloing or muting a VCA master will affect all VCA slave tracks. This means that the wet/dry balance is maintained for any post-fade sends from those tracks, which is not the case if you route their audio outputs to a bus and adjust its level. Once you’ve assigned tracks to a VCA group and that group to a VCA Master, adjusting the level of this VCA will bring up or down the relative fader levels of all the tracks within the group. A VCA fader functions differently from a normal bus fader. It’s possible to assign any channel fader (track, bus and aux) to a VCA fader group, and conversely, any fader can become a VCA Master. It is used purely as a way of controlling other faders - typically, a number of faders grouped together. With Pro X2, they have now been included in Samplitude too. In Magix’s world, VCAs were previously available only in Sequoia 12 (Samplitude’s more expensive sibling). VCA stands for Voltage Controlled Amplifier, and VCA faders have long been a feature of high-end analogue live-sound mixing desks including the Midas Heritage and Soundcraft MH2 as well as studio consoles like the SSL 4000E and Neve 88RS, to name but a few. Magix’s elegant implementation of VCA faders shows both the original fader position and its VCA-controlled ‘ghost’ value. If you use multiple displays, you can grab a tab and drag it to a different monitor. Alternatively, you can have several VIP projects open at the same time and quickly tab between them. A good example of this would be to have the MIDI editor as a separate tab allowing you to quickly switch between a full-screen VIP (Samplitude’s name for the arrange page) and a full-screen MIDI editor. You can open multiple projects and switch quickly between them by clicking on the tab for each project, and any element that can be docked can be dragged out of the dock and added to a horizontal tab section that resides just above the grid and marker bar. This concept has been expanded in X2 with the addition of tabs.

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Samplitude has always been a fairly window-heavy program, and the Pro X update introduced docking as a way of managing all these interface elements.

Samplitude pro x2 fader affecting wave display off mac os x#

This review will concentrate on the new features and improvements in this release, so readers who would like to find out more about the previous Samplitude Pro X version should refer to the extensive review by Sam Inglis in the April 2012 edition ( Note, however, that the Mac OS X version which was then in the works has since been abandoned, so the program remains Windows-only. The program also features comprehensive CD mastering functions, so you can record, edit and master your projects without ever leaving Samplitude. Samplitude has many distinctive features not found in other DAWs, including Comparisonics waveforms, the Spectral view and the unique Audio Object Editor. The current version gives you 999 tracks of audio and MIDI, 64-bit multicore operation, support for up to 256 physical inputs and outputs, and 32-bit floating-point audio recording at sample rates up to 384kHz.

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The Amiga version was released in 1992, and it became multitrack in 1994 on the Windows platform. It comes in two flavours: Samplitude Pro X2 and Samplitude Pro X2 Suite.įor readers not familiar with Samplitude, its roots stretch back a quarter of a century to 1990, when Titus Tost began coding an audio editor on the Commodore Amiga platform. More than three years later, the 13th major revision has now been released. However, rather than call it Samplitude 12, Magix’s rebranding exercise saw the product numbering reset and the program rechristened Samplitude Pro X. Released in the late Summer of 2011, the last major revision of Samplitude was the 12th version overall. Magix’s powerful Windows DAW gets another raft of new features in a comprehensive update.