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Old 11th November 2018 | Show parent
  #186
Lives for gear
 

Like many, I've always thought Samplitude was greatly underappreciated. I'm a long-time Samplitude user who has also been using Reaper the last 2+ years. I spent the time to learn both, and I still use both. Previously I did an album in Pro Tools, then one in Samplitude, and another still in Reaper.

I hate Pro Tools. It is bloated, inefficient, and unbelievably tempermental. i have a hard time finding anything good to say about it. Between Reaper and Samplitude, I use Reaper more. While your opinion is that you can do anything you can think of in Samp, I think that description applies more to Reaper. It is an astounding piece of software. The power, flexibility, and efficiency are unparalleled. But like that German car, what Samplitude does well, it does extremely well. It's still my favorite for editing, though Reaper comes close. It's auto-crossfade mode is worth its weight in gold. But Reaper is far more efficient and flexible overall.

One thing about Samplitude is that the pace of development appears to have slowed down quite a bit, almost to a crawl. There are not many new features appearing. I'm guessing the developers have moved on to other projects and only work in Samp periodically. That's how it feels anyway. In contrast, Reaper is constantly moving and evolving. It's an extremely small development team (two programmers, I think) yet they are constantly creating new features and improving old ones.

For someone buying new, I would suggest Reaper, but Samplitude is still an excellent product.

Quote:
Originally Posted by tuner View Post
The German sports car analogy is a good one. If you just bought a Porsche, upgrading from a Saturn, you'll basically need to learn to drive all over again. I wanted to goose this thread to reiterate just how freaking powerful this program is. For me, it's like the Photoshop of DAWS – I can't imagine using anything else.

Of course, I'm highly biased, because I logged the long hours learning how to use all this power. Perhaps if I spent as much time with Reaper I'd come to appreciate it as much. But I'll say this about Samplitude: if you're willing to invest in the learning curve, you'll find it can do just about anything you can think of. The people who created this software are passionate about what they're doing, and it shows.

To the prospective buyer, the question is probably: Why would I commit to a such a little-known, relatively expensive program? Well, considering the lack of marketing, the mere fact that Samplitude still exists is a testimony to its virtue. To people who've delved into its abilities, Samplitude is often indispensable.

ProTools has market share because ProTools has market share -- it's the winner-take-all circular logic that governs the realm of software. Sonar and Cubase have always been good at marketing. Reaper made the laudable business decision to give away their software, and it's served them well. And Samplitude, meanwhile, relies on little more than word-of-mouth.

Perhaps watching the tutorial videos will help convince those on the fence. Trying to learn this program on your own can be a hard climb, and it may take more than 30 days to achieve full fluency. Years later, there are still features in Samplitude that I haven't explored.

For the new user, there are two areas that deserve special note: Samplitude was conceived around the idea of nondestructive object editing, and I don't know if any other program does it as elegantly. Once you've memorized/customized keyboard shortcuts, objects can be dragged, duplicated, resized, split, merged, grouped, and endlessly manipulated with ease. I can't think of a better "arranger" – you can even be shuffling objects during playback, if it suits your needs. Set your undo levels to 100 and experiment away. The same techniques work for MIDI or audio objects.

Second, the automation curves are powerful and fun, once you get the hang of them. Using keyboard shortcuts to switch "mouse modes", I'll often be manipulating volume curves during playback. Grab one or more handles on the curves and adjust levels as you listen. Did somebody hit a wrong note? Zoom in, add four volume handles, and notch it out. Someone mentioned mute automation – for me this is ideal mute automation.

I'll also put in a plug for Magix’s Movie Edit Pro – an inexpensive program that's basically Samplitude for video. I was delighted to discover that, having learned Samplitude, there was almost no learning curve -- and now I can apply all my object-editing tricks to video…