Tim Dolbear — Product Specialist for Magix. Toronto AES Section Meeting March 22, 2011. Photograph by Mr. Frank Lockwood.
Blair Francey introduced Tim Dolbear.
Mr. Dolbear is originally from LA where he's done much live sound work, and is currently based in Austin Texas. He's been a full time engineer since 1999 as owner of Eclectica studios. Previously, he was also a studio and touring musician performing with people like Sammy Hagar.
Mr. Dolbear has been product specialist with Magix over a year, with the idea being to provide training and support for studios from someone actually using the Samplitude and Sequoia software on a daily basis.
His presentation was refreshing in that it was not aimed to be a sales demonstration, noting he was approaching everything as an engineer, which is how he makes his living.
To reinforce that point, he started by saying that if you're happy with your current DAW program, "great!" He was not trying to get anyone to switch.
He hoped the features he would highlight — ones that he frequently uses -- showed how the programs, which he uses for everything from recording and mixing all the way to CD creation and DVD authoring, can enhance the workflow.
Samplitude and Sequoia are virtually the same program, with Sequoia being aimed more for post-production (ie: mastering) and broadcasting.
Magix, based in Berlin, is the parent company for Samplitude and Sequoia. Taking into account all their products, they are 2nd best selling software company in Europe after Microsoft. Some other programs include Video Pro X, which is a consumer program, Movie Edit Pro, and Music Maker.
One of the primary advantages of Samplitude and Sequoia are that all the functions necessary for audio production are self contained within the programs. They're Windows based but run perfectly with Bootcamp — a Mac version is expected in 2012.
Samplitude's history begins in 1989 as an audio editor. Logic was assisting Samplitude acquiring its MIDI engine just before the buyout by Apple in 2002. Samplitude was able to retain the MIDI engine from Logic.
The onscreen presentation began with Tim discussing the graphic user interface, which he noted was completely customizable. His personal design utilized long throw faders which, for him, minimized the feeling of limitations normally associated with mixing with a mouse.
The entire workflow for Samplitude and Sequoia is built on object based editing. Files in a project, which can be MIDI, mono, or stereo audio, or any combination thereof, are referred to as objects. An object has all the things available to it as in a mix channel — in other words it's like a having a complete mixer track for every object, even if that object (file) is split several times on a track.
This means an object has available to it gain, up to 64 aux sends, all plugins, built-in eq, panning as well as surround sound. Objects can be user colour coded for easy identification in a project. Fades and auto cross-fades are available on the object editor, as well as pitch/time shifting, and pitch automation. All these things are available non-destructively on each object in the entire project.
"Comparesonics" can display where frequencies are in a track by using colour to indicate the frequencies. This allows one to be zoomed out in a project yet still see what frequencies are where, and zoom in to a specific frequency (ie: a vocal plosive). It can also look for the next target frequency in the object.
In the example of a vocal plosive, it can be identified by its colour, split into its own object and dealt with by an EQ, for instance, after opening up its object editor.
Objects can be frozen (rendered to a new audio file) and glued, thereby freeing up computer CPU resources. This action is also customizable with hot keys.
In response to an audience question, splitting an object does not create a new audio file, freezing does. The frozen objects can be saved as 24 bit or 32 bit float files. The 64 bit versions of Samplitude and Sequoia will out "in a few months".
An EQ called FFT Filter is a linear phase variety allowing one to boost as much as 20 dB or cut 110 dB. An option in it called Sound Cloner can analyze audio (minimum 20 secs), save the analysis, and apply the spectral curve to another audio object. Unfortunately, for whatever reason, that particular function was not behaving properly! Tim invited the audience to view his youtube channel, at their leisure, for a proper demonstration of Sound Cloner.
Mr. Dolbear mentioned that Sound Cloner is very useful in mastering where a client prefers a sound of a reference track and wants it applied to their own track. Sound Cloner also has a strength function where you can make the curve-match either stronger of weaker.
The Ammunition plugin, very powerful, especially for mastering, was showcased next. Designed by Sacha, who is responsible for the free digitalfishphones plugins, Ammunition emulates an optical compressor, has a mid-side mode, side-chaining, and allows matched level A/B-ing enabling one to compare with and without compression at equal levels for more critical evaluation. It also has a limiter section with a "classic" feel (not brickwall), similar to some Waves plugins where bringing down the threshold also brings up the output levels, and a clipping "circuit" that can act as the brickwall. It's highly configurable; it can be set to feed forward or feed back styles offering Neve or dbx type emulations, and the output ceiling can be set as well.
This plugin is available separately, and, in response to another question, works identically in all formats, including side chaining.
Another plugin Tim discussed was the EQ 116 which offers internal upsampling, phase linear and standard modes. In interviews and discussions Tim has had with mastering engineers, Tim related how this EQ is used without reservation quite frequently by them. This led Tim to conclude that "if this EQ was sub-par (for the mastering community) they would not be using it".
The fact that Sequoia is being increasingly used by the mastering community has reinforced Mr. Dolbear's trust in the sound of this program. The sound of Sequoia, he noted, is discussed favourably quite often in online forums - "things sound clearer".
Other software tools discussed included Vari-verb, a very "musical" sounding reverb plugin designed along the lines of Lexicon units; and a suite of 'tiny' plugins called Essentials, designed to be quick and easy to use in field work for the broadcast industry yet of very high quality. Currently containing five titles, its being expanded with over ten more titles so the full range of effects are available.
Elastic Audio, Samplitude's pitch automation similar to the Melodyne software, was demonstrated. It is strictly monophonic. In response to an audience question, no capture process is needed. Everything is done at the object level, therefore non-destructive. If you freeze this, you can un-freeze much later in case you missed something and re-freeze it. Multiple levels are saved and stored non-destructively. Playback of an example of the time stretching algorithm revealed virtually no artifacts. Different algorithms are available optimized for different tasks.
By audience request, examples of the impulse response reverb were played back.
The Cleaning and Restoration Suite (available only in Sequoia and Samplitude Pro) was used on an acoustic guitar track containing finger squeaks. Simply highlighting the offending region was all that was needed to remove the artifact. Spectral repair is destructive so saving an original copy is advised.
Declicking, decrackling and de-hissing was demonstrated next.
For creating full CD masters, ISRC codes, CD Text etc. can be added. Hidden tracks can be created. Mp3 tags can be edited. Files can be converted to any format. In Sequoia only, masters can be monitored with 16 bit dithering at all times if desired.
Responding to another audience question, there are no error check tools. Mastering engineers generally use things like Plex-tools.
DDP protocol is already available within the program.
Asked about pricing, Sequoia is $2999. Samplitude Pro is $999; its cross grade price is $499.
Cross fading was demonstrated. This can be configured in any way the user desires. For example someone familiar with SaDie protocols, can set Sequoia up to work in the same way.
Procedures named 4 point cut and source destination cut were shown next. Source destination cut allows the user to mark a section of audio, and in one click have it go to a pre-set destination point anywhere on the same track, even a hour away, or on different track, or on the same track at the same location, or even a track in a different project. Once enacted, the marker automatically moves to the end of the destination location ready for the next source to be inserted. This can customized with hot keys.
Responding to an audience question, auto-conform from an CMX 3600 EDL, for example, will be available in version 12 via macros.
Another question dealt with using a pencil tool. The audience member wanted to know if an auto smoothing function was available. Mr. Dolbear responded that he wasn't sure as he doesn't use that function personally, but would be surprised if the program didn't have such a feature.
The final demonstration highlighted comping — assembling a final take from several different takes. This, like everything else in these programs, is user configurable.
That ended the presentation. Mr. Dolbear answered questions individually during the break.
