It doesn't matter if Samplitude is their flagship since 2000 or 1993, today it is their flagship - albeit with sequoia - and music maker is just a money maker. Saying that Magix doesn't do high end daw is just ridiculous, which was my point. Companies who distributes daws all have shit products that go with it, some have other busness ventures outside of audio, it basically depends on their history and current strategy.
As far as I'm aware Magix is like the Microsoft for audio products - just acquiring other products, and relabelling them, using them for their purposes. Samplitude was developed by SEK'D, for instance.
Yeah, but if they developed Sequoia themselves, in would show they have ability to improve acquired software applications in-house.
Sequoia is kind of a super Samplitude, it's from the same two eastern german creators, who still developpe them both. And it's Magix who's been owning both of these products for the last 15 years. The recent acquisitions make it clear that they still have big ambitions for both products, which is good news for people who use those great daws. But the creators of the daw explain all this better than me in this article from sound on sound: Like many other audio applications, including Steinberg's Cubase, Emagic's Logic, Ableton's Live and Presonus' Studio One, Samplitude began life in Germany — but unlike them, it has its roots in the former Communist bloc. Tilman Herberger and Titus Tost met at university in the former German Democratic Republic, where they managed to get their hands on the first Commodore Amiga microcomputer to make it through the Iron Curtain. It was for this platform that early versions of Samplitude were developed and, following the reunification of the country, released commercially. From the beginning, it was a fully native application, and in 1994, Herberger and Tost ported Samplitude to the Windows platform. They remain very much in charge of its development. The Magix company was founded in 1993, and alongside professional tools such as Samplitude, developed a formidable range of multimedia products in the music, video and photo markets, currently employing around 330 people. The main company headquarters is in Berlin, but Herberger and Tost still head up a large software development team in Dresden, where I met them in January this year. From the very beginning, two hallmarks have defined the philosophy behind Samplitude: the 'object oriented' approach to editing and processing, and an obsessive commitment to purity of sound quality. With respect to the former, Tilman Herberger explains: "We were always convinced that it makes sense to have real-time effects on the smallest possible level. We did not like the idea of having to use a whole track simply to apply an EQ, so the idea was to have it for each clip independently of the next clip. All our other software tools share the same concept of non-destructive object-based editing. It is very common in the video area today, but not so common in the audio area — and we have it for both. It makes the project very clear, because you need only one track, but you can use 20 effects one after another. It is also very CPU-economic, because only the actual audible effects [at any one moment] have to be calculated, no matter what comes in five minutes or what was three minutes ago. It is very useful for guys who have to deal with hundreds or thousands of cuts, and this is the case, for example, in the classical music area. "Being native helps a lot with doing these object-oriented effects. For a DSP card, it is much harder switching in real time without any glitches from one effect to another, but for a native processor this is much easier — I would not say simple, because this is the hard programming stuff, but being native was an advantage for that.” Herberger is sceptical about the notion that there are no sonic differences between audio programs. "There was a test that was done a few years ago by a music conservatory, where they compared digital audio workstations — only the mixing [ie. summing] of the tracks — and then they made a really good blind listening test. In this category was also mixing via simply passive resistors, because everybody says 'This is the best way you can mix audio signals on an analogue level.' In this contest we won, together with one or two other digital audio workstations, on the same level with the analogue resistors, because this was the group where the listeners could not discern differences. "I think the big thing about the sound quality is to make no mistakes. You must not do mistakes in the DSP. It's a big goal, and a lot of errors and not-clever routines are done by a lot of parties on the market, and people who are trained to hear audio will discover these immediately. Six or seven years ago, we had a patch for a new Samplitude version, and one day an American guy called us and said 'Hey, you did something wrong in your program. It sounds bad now.' We measured, and did tests, and after a long time we found out that in the 24th bit of the audio in going from floating-point arithmetic that we do internally down to the sample level through a 24-bit converter, we forgot the dithering. I personally could not hear this, to be honest — but you can measure it, and in a program as huge as Samplitude, you have a thousand points where you can make a mistake of this sort.” "Especially with small waves in the area of the zero crossing,” adds Titus Tost. "As you switch from negative to positive, there are some problems with rounding. It takes a lot of experience to put this together so that it sounds good.” The twin commitment to object-oriented editing and absolute 'correctness' of sound quality has been core to Samplitude's development, but Pro X sees some major changes in other areas, most notably the user interface. "We really worked a lot on the new user interface of the program, because we know all the deep features in the detail do not make much sense if people do not find them, or if working with the user interface is a hassle and makes no fun!” says Tilman Herberger. "I think this is a kind of modern user interface. This was the goal of the new user interface: to have a clear structure and everything that is active right now visible — if you want it, of course!” It's clear that Herberger and Tost also see the acquisition and integration of the Independence sampler as filling an important gap in Samplitude's comprehensive feature set. "I think the most important new feature is the integration of the Yellow Tools instrument,” says Herberger, "because this gives you now a huge amount of perfect sampled instruments, which were missing in the old version. This is not a standard sample bank like everybody has — the guy who produced them really put his heart into them.” Finally, as mentioned in the main text, Magix have already announced that after 18 years as a Windows application, Samplitude Pro X will soon be available for Mac OS X. This, apparently, has been the number one user request for many years now, but porting it is a huge task that requires considerable development resources. "It's a complex product developed over the last 18 years,” explains Titus Tost, "and it's not so easy to put all the stuff into a Mac version.” "Fifteen years ago we were two guys, so it was not possible for us to make a Mac version,” continues Tilman Herberger, "but right now we have the company, we have the background, we have the access to the market to make sure it makes sense.” "And we have also the Intel processors in the Mac!” adds Tost. But although there is a firm commitment to its release, no date has yet been set. "We will not come to market with an unstable or not really finished version,” insists Herberger. "This is our policy always in the professional area. For the pros, the audio quality and stability are the most important features.” There is also an interesting part in the middle about the eternal debate "daws sounds the same vs daws don't sound the same". Last edited: May 31, 2016
OK that explains everything, Samplitube/Sequoia development would be finished if those two guys left. I don't have any great hopes for MAGIX improving Vegas anytime soon
Probably yeah. Well I don't know if Magix already have a similar soft, I don't work videos at all. If they do they will probably integrate Vegas to it. If they hire the teams that make Vegas (and it seems they kept a few people from the op), maybe Vegas will be a bit (through some functionnalities) in their own video software, but I doubt they will developpe it in the future as it is now.
I would imagine the best brains will be staying at Sony to develop Catalyst, with maybe just the deadwood moving to Magix
I should have added for my particular use. If I want to piece together a video over one of my mixes I will use Ableton's Video Editor. It takes a fraction of the time whilst giving me the same results on you tube. But there is also Video Meld from Goldwave, which also works much faster than Vegas for my needs.
not only the gui, try to render one hour hd movie in 32-bit floating point (video levels), with vst plugins ,video strech, midi sinc, etc. Last edited: May 31, 2016
I think that the true force of Vegas is to treat audio and video at the same level. I don't know if it is the best way to produce a professional video, but it's fun Last edited: Jun 1, 2016
oh ! okay, so I guess they won't screw-up SF, since they make a 3000€ daw ? great answer, thanks for your enlightenment
Exactly. If you're an audio guy, have a little video editing to do and don't want to learn a whole way to work and even think, vegas is the tool of choice.
