I ended one review by saying that Samplitude had just about everything you could need for recording, editing and mixing a project, and it is now clear in version 11 that the programmers want the final stage of music production to be taken seriously as an possibility as well, thanks to the inclusion of two new mastering processors. In my opinion, the two features that separate Samplitude from most of its similarly priced competitors are what the manual call its "object–oriented audio editing”, and the very high quality of its included signal processors, so I will discuss these first.
Samplitude is, however, a very fully featured DAW, so I thought it was probably a good idea for us to be reminded again of some central features of the program that are quite unique to it, and so which might be judged to set it apart from the competition, before I start looking at the incremental changes in the new version 11. At our studio, the hardware DAW we use for classical editing is now at version 6: this is entirely compatible with version 5, but both 5 and 6 projects require special - irreversible - conversion to be read by a version 4 machine, and if you have version 3 you'll get precious little product support, pitying looks from your colleagues, and potential scorn from your clients.) (Backwards compatibility is highly desirable, but for technical reasons it is not always possible. This can easily happen when a particular program goes through a series of upgrades, especially when the new version is fully backwards compatible with all the previous incarnations. In both of these other reviews, there were so many new features to cover that I was forced to give the core functionality of the program rather short shrift. This is the third incarnation of Samplitude I have reviewed for Sound On Sound, having previously looked at version 10 in March 2008 and version 9 in 2007. With the latest version of their unique 'object oriented' DAW, Magix are targeting both mastering and recording engineers.
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