This month in Radio and Production we look at Samplitude Pro X, a Windows-based multitrack recording software package from Magix that is very complete and capable, yet in some ways very different from more popular audio recording packages. It has the same capabilities as Pro Tools and Audition — in some instances more — but its object-oriented design puts it in a separate class altogether.
Now that it’s in the same price bracket as Pro Tools and Audition, it makes sense to try the free 30-day demo version. You may just be motivated to switch. Get the August issue of RAP to find out more.
I just finished reviewing the PromptBuddy product from Wells Park Communications, for the February issue of Radio & Production magazine.
Designed for use by voice artists producing IVR prompts and narrating e-learning projects, PromptBuddy records and automatically trims voice prompts from scripts. It works and is beyond simple to use. However, it does have limitations that may make it unsuitable for some projects. It does not compare to similar products like, for example, Word2WAV. It’s also a bit fiddly to use as a result of its compromises.
On the other hand, it’s inexpensive and does what it’s designed to do.
January’s issue of Radio and Production magazine features my article that examines and explains the new “LU” or Loudness Unit. It also describes how it came to pass that, at least in Europe, the LU is rapidly replacing the familiar “VU” or Volume Unit as a means of measuring amplitude.
In the upcoming issue of Radio & Production magazine, I’ve explained the basics of SEO and how it can help clients find you. More importantly, I show you how joining and participating in social networks increases your visibility on the interwebz, which can be good for your business.
In short, you need good content and good participation from other sites (in other words, incoming links) to get good results from Google. Got that? Good.
In the April 2009 issue of Radio & Production magazine I’m taking a look at the AKG Perception line of microphones.
AKG has a long and storied reputation for producing some of the best studio mics around — can you say 414? — but can their latest line of inexpensive Chinese-made microphones maintain that reputation? How well do they stack up against the competition?
The short answer is yes, mostly. Read RAP for the whole story.
So I decided to postpone the Samplitude 10 review until the June issue of Radio & Production (with approval from Editor Jerry, of course). I wanted more time to explore the program, which is both deep and wide. But Samplitude still has a Rodney Dangerfield complex here in the US — it gets no respect. That’s too bad, because it’s a strong contender as a standalone, all-in-one PC recorder and editor. Compared to Audition, its interface looks and feels more professional to me, and it provides a significantly better mixer with more features and functions. On top of that, it sounds really good; even in-the-box bounces sound good.
Unfortunately, Samplitude 10 is still as spendy as ever. The Pro version lists at $1295, which leaves the street price under a grand. There’s a “standard” version (maximum 64 tracks and eight busses) that carries a US list of $649, which puts street price under $500. The two-track Master version is $349, which streets at something under three c-notes. For VO work, the standard version is close enough, and you won’t miss the Pro’s extras.
Check out the June issue of RAP here.
I haven’t decided yet, actually. In fact, I just figured out that I have another couple weeks to finish writing it (joy!).
But I’ve been playing with two very kewl products… the MicPort Pro from CEntrance and Magix’s Samplitude 10. Actually I’ve been playing with both at the same time. MicPort is a USB-to-audio converter that so far sounds great, unlike some others out there. Most of the existing converters are noisy and sound like crap, but the MicPort actually sounds very good, and does 96k/24 bits to boot. I think I’m keeping this one.
Samplitude 10, like previous versions (the last one I reviewed was version 8 back in 2005), is very deep. My concern with it is finding whether it’s still a resource-hog… I’ll be checking that this week. More later.
This month’s review concerns one of those products that not everyone needs, but those who need it really need it.
I’ve scored a copy of iZotope’s RX noise reduction plug-in, and so far, it’s sweet. It’s a standalone program that lists for $349 USD, substantially less than the current crop of third party noise reduction plugs. What’s more, RX offers five distinct modules: a de-clipper, a de-clicker, a de-noiser, hum removal, and spectral repair, all in one interface. And quite the interface it is, with the buttons for each modules at the lower left of the interface.
Actually the nice folks at iZotope have given me a full copy of RX Advanced, which retails for about $1200. While it’s nice to have, I can already tell that I’ll do most of my work using the “simpler” controls that come with the regular edition. Here’s the main screen: Continue reading iZotope RX review in March issue of RAP
Sony’s Sound Forge version 9 is out… how good is it? Is it worth upgrading from version 8 or earlier? We’ll soon see, as I have a copy coming for the June issue of Radio & Production magazine.
I’ve been using version 8 for a year or so, but I still think version 5 was the best since Sony bought Sonic Foundry’s product line. Simple, solid, and very stable.
Variation on an old joke: how many old audio editors does it take to install a new version of software? Five. One to install it, and four to talk about how good the old version was.
Sorry. That sucked, didn’t it?
I’ve just finished writing a product review for the April issue of Radio & Production magazine. This month I got to play with Sony’s Vegas 7 multitrack audio recorder/editor.
If you’re using an older version of Vegas, say v5 or earlier, you should check it out. If you’re using some other PC editor and you’d like your life to be simple again, then you should check it out right now. You can read about it here.