For those who don’t know the tool: Samplitude is a Windows DAW (Digital Audio Workstation) for recording through mastering, with a video timeline and plugin workflows via VST3. The Suite edition folds in Soundly and Sound Forge for faster SFX pulls and file edits, and was acquired by BorisFX last year.

Finally video that behaves

Samplitude 2026 adds a new video engine aimed at smoother playback and better responsiveness when you keep the picture inside the session. The feature set targets full-resolution 4K footage at up to 60 fps, with GPU acceleration on NVIDIA, AMD, and Intel hardware.

Codec support gets an refresh as well. The new engine supports AVC and HEVC, via the standards behind H.264 and H.265, plus AV1. For anyone who has ever had to keep a dialogue edit locked to picture while a laptop fan negotiates with physics (Random example… *cough*), that’s amazing: get video decoding off the CPU so the machine can spend its budget on audio processing.

Samplitude also keeps its existing video import formats, and 2026 positions the new engine as the part that makes navigation, scrubbing, and playback less painful while maintaining tight sync inside the project.

Audio engine work that targets dense sessions

The 2026 update includes performance and stability work, paired with VST3 and audio engine improvements.

The goal is to keep demanding sessions running smoothly by improving CPU management and multicore performance, especially when projects lean on heavier processing chains and higher-latency plugins. This focuses on fewer workflow interruptions during recording, editing, mixing, and mastering, even when the session scales into complex multitrack mixes.

OSC control turns the DAW into a network device

Samplitude 2026 adds OSC remote support, built around Open Sound Control workflows. The feature is intended to let users trigger editing, mixing, and transport functions over a network from a phone or tablet, and it also calls out control surfaces like Stream Deck.

This is not a “single vendor controller” story – interoperability with OSC-compatible apps and controllers is reeeeeaaaally common in audio land, but in many cases not the “Headline” Feature of a new control surface. That matters in small booths, multi-room recording setups, and any environment where the person pressing record is not the person sitting at the DAW. (Get an overview of OSC on Wikipedia, and check your current hardware – some already support it, like my webcam! )

Suite-only routing and library integration aim at post workflows

Samplitude Suite adds an FX Routing Matrix designed for flexible routing through plugins, with support around stereo, surround, and more advanced effect chains. The matrix is a way to route track channels into plugin inputs and then return plugin outputs where you want them, including sidechain-style configurations and multichannel bus work.

Suite users also get Soundly integration inside the arranger window. Find an effect in Soundly, then send it into the Samplitude timeline so it appears on the project without manual file wrangling. The integration also includes organising personal clips alongside the Soundly database, for faster reuse of common assets like theme music or recurring effects beds. Or the swearing bleep, if you edit podcasts.

Finally, the Suite bundles Sound Forge 2026 as an integrated audio editor, with sample-accurate editing, finalisation, and mastering tools for stereo and surround work. The positioning here is: use the DAW for timeline decisions, then jump into a dedicated file editor for detailed waveform surgery and repeatable processing tasks.

Expanded ARA2 support adds two named tools

Samplitude 2026 expands ARA2 support with ReSing and MTrackAlign. The workflow described keeps analysis and processing inside the DAW without exports or manual file shuffling, and it frames the integration as faster clip-based correction and alignment work directly in-session.

Small fixes that add up in daily editorial

Beyond the big-ticket items, Samplitude 2026 lists a set of additional improvements that speak to everyday production friction. It includes overload and noise protection that automatically mutes audio at critical levels. Export gets an option to quickly export audio without effects via a checkbox. The plugin buffer dialogue is updated with clearer descriptions for choosing buffer settings. Navigation adds an “Open in Windows Explorer” option to the right-click menu. Marker list export gets usability and compatibility improvements. Arranger controls bring back a classic double-click behaviour for full track fit. Resampling options get a streamlined workflow. Nested VCA support allows controlling multiple VCAs at once with a single fader.

Pricing and availability in plain numbers

Samplitude is sold with subscription and perpetual options. The listed monthly subscription is $25, the annual subscription is $145, and a perpetual license is $395. Upgrade and support plans start at $185.

Samplitude Suite lists an annual subscription at $175, a perpetual license at $495, and upgrade and support plans starting at $275. The Suite does not list a monthly subscription option.

What to test first before you roll it into real work

If you are considering a move to Samplitude 2026 mid-season, the obvious test plan writes itself. Validate picture playback with your facility’s usual codecs and frame rates, prohibit acquisition from randomly integrating new cameras, and check the GPU path on the specific machine builds you actually ship work on. Then stress the audio engine with your worst sessions, including the plugin chains and routing patterns you know can break lesser setups. If you plan to use OSC control, test your network conditions and controller mapping early, before a client session turns into a Wi-Fi troubleshooting workshop.

https://borisfx.com/products/samplitude/

The post Samplitude 2026: the DAW that learned new video tricks? first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Blackmagic Design makes ATEM switchers and DaVinci Resolve for edit, colour, audio, and finishing. The tour pairs live switching with post so you can stop treating podcasts like a radio show with accidental cameras.

A tour built around practical workflow demos

Blackmagic Design is running its European Workflow Tour over two days, pitching a complete live and postproduction workflow based on Blackmagic Design products. The promise is faster output and better quality, but the programme does not define formats, targets, or benchmarks. It is a workshop, to try and experiment and look over each others shoulders.

The useful angle is simple: this is a low-risk moment to poke the hardware before you buy it, ask the awkward questions out loud, and compare notes with other crews about what actually breaks at 2 a.m. The programme text does not explicitly describe hands-on access or open networking time, so treat that as an opportunity rather than a guarantee. Dates and cities in the published schedule are Amsterdam on 19 and 20 March, and Berlin on 24 and 25 March.

Day one: podcasts, but with coverage you can fix in post

Day one targets podcast production, specifically turning audio-only podcasts into multi-camera shows. The workflow pitch centres on using ATEM live production switchers for the live cut while capturing ISO recordings of each camera angle, plus the final programme.

That combination is the practical hook: the live switch gives you speed, the ISOs give you options, and DaVinci Resolve is positioned as the finishing and delivery stage. The programme explicitly names delivery to YouTube and X.

The podcast sessions run 11:00–12:00 on “Design a Complete Podcast Production Workflow”, 12:30–13:30 on “Create Video Podcasts Faster with ATEM ISO”, 14:00–15:00 on “Finish and Deliver Podcasts in DaVinci Resolve”, and 15:30–16:30 on “Global Podcast Production with Cloud Collaboration”.

Day two: Resolve for high-volume content and consistency

Day two is framed as “DaVinci Resolve for Content Creation”, with a focus on working in one application from start to finish, handling large volumes of media, maintaining creative control and consistency, and working collaboratively with cloud collaboration.

Sessions run 10:30–12:00 on “Simplify Content Creation with DaVinci Resolve”, 12:30–13:30 on “Edit Large Media Libraries Quickly”, 14:00–15:00 on “Maintain Creative Control and Brand Consistency”, and 15:30–16:30 on “Work Faster with Cloud Collaboration”.

New tools and innovations should be tested before use in production, ideally with your own media, your own deliverables, and a plan for when the first thing goes sideways. So, give it a try at the Workshops!

https://www.blackmagicdesign.com/event/european-workflow-tour-2026

The post BMD European Tour 2026 lets you touch the gear first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: CrumplePop from Boris FX provides AI audio restoration and separation tools for editors and post facilities. Its plugins run inside applications such as Adobe Premiere Pro, DaVinci Resolve, and Avid Pro Tools. The included SoundApp standalone utility processes files outside the NLE or DAW.

Audio engineers often repeat a simple rule. Once a stereo mix is exported, the ingredients are baked together for good. Boris FX would prefer that rule to be more of a suggestion.

The company has released the 2026 version of CrumplePop, expanding the toolkit beyond dialogue cleanup into demixing and stem reconstruction. The update centres on SoundApp, the standalone application included with the CrumplePop toolkit. The redesigned software introduces several AI models capable of splitting finished audio or video mixes into separate elements such as voice, music, or sound effects.

The premise is simple and familiar to anyone who has opened an archive project at 2 a.m. and discovered that the original audio session is missing. Instead of reopening a DAW or NLE project and hunting through old drives for multitrack files, the user can import a rendered mix and attempt to isolate the individual components directly from the master.

CrumplePop’s separation models attempt to reach inside that master file and reconstruct stems such as drums, bass, vocals, or dialogue. All processing runs locally on the user’s machine. No cloud upload is required, and there are no server-side processing limits.

The demonstration material frames the concept in familiar terms for audio engineers. Once a stereo master is rendered, individual elements are normally fixed inside the mix. CrumplePop positions its separation models as a way to reopen that mix and extract elements such as drums, bass, vocals, and instruments as independent stems.

A tidier SoundApp

SoundApp itself has been redesigned for the 2026 release with a darker interface and updated layout aimed at music and postproduction workflows. A new model manager provides a central location for downloading and managing AI models used by the application. The interface allows users to browse and install new denoise or demixing models as they become available. The manager is accessible through a laboratory-style icon in the interface or from the model selection menu.

The system allows the application to evolve over time as improved models are released. One practical addition is on-the-fly processing. Instead of analysing the entire file before playback, the user can move the playhead to a specific point and begin rendering from that position.

In practice, this means the user can scrub through a file while the system processes the section around the playhead. For long recordings, that behaviour may reduce the amount of waiting normally associated with demixing tools. Waveform visualisation has also been expanded. SoundApp displays separated stems dynamically as the user adjusts settings. The tracks can be shown as overlapping waveforms or as individual layers. The intention is to make it easier to see which sections contain speech, music, or effects while the separation process runs.

Three models for different mixes

The update introduces separation models designed for different types of material. Music 4 Stems divides a finished music mix into four categories: vocals, drums, bass, and other instruments. The final group includes guitars, synthesisers, and melodic parts. Maybe even Bagpipes.

Each component can be exported as an individual track after processing. Users can rebalance the mix, remove elements, or repurpose isolated stems in other projects.

Voice 2 Stems focuses on separating vocal material from background audio. It can extract vocals from music recordings or isolate spoken dialogue from mixed audio. Possible uses include generating instrumental tracks, preparing remix material, or removing background music from dialogue recordings. Or getting tracks ready for Karaoke, we are not judging. The model may also reduce recording artefacts such as headphone bleed or environmental noise that appears alongside speech.

Cinema demixing for editorial triage

The third model, Cinema 4 Stems, is aimed at video editors dealing with finished programme audio. The model splits imported audio into four tracks: voice, music, sound effects, and other material.

One example involves online video that contains copyrighted music playing in the background. If a platform detects the music, the video may be demonetised. By isolating the music stem, the editor can mute it while preserving the spoken dialogue track.

Another demonstration shows extracting a clean sound effect from mixed audio. In the example, a rocket launch recording contains both a spoken countdown and the launch sound. The separation model isolates the effect so the voice track can be muted.

A further scenario involves removing speech from environmental recordings. If someone talks during otherwise useful B-roll audio, the voice stem can be muted while leaving the ambient sound intact. These workflows happen directly inside SoundApp. The user imports the finished media file, separates its audio components, adjusts or mute selected stems, and exports the result.

The familiar restoration tools remain

CrumplePop continues to include the audio restoration models that originally defined the toolkit. These tools address common recording problems such as wind noise, traffic rumble, echo, and uneven vocal levels. The models improve dialogue clarity while reducing environmental noise or room tone. The corrections are applied directly within the interface. These restoration tools remain available both in SoundApp and as plugins inside editing and audio software.

Integration with editing and audio software

CrumplePop continues to ship both as a standalone application and as plugin effects. Plugin versions are supported in editing and audio applications including Adobe Premiere Pro, Adobe Audition, Avid Media Composer, Avid Pro Tools, Apple Final Cut Pro, and DaVinci Resolve. Music applications such as GarageBand and Logic Pro are also supported. SoundApp operates alongside these plugins as a standalone environment for analysing or repairing mixed audio.

Pricing and availability

SoundApp is included with every purchase of the CrumplePop toolkit. Subscription pricing begins at 18 USD per month or 180 USD per year. Perpetual licences, upgrade and support renewal plans are also available through the company’s online store. Customers with an active CrumplePop subscription, a Boris FX Suite subscription, or a current upgrade and support plan receive the 2026 release as part of their existing entitlement.

A familiar problem, now with algorithms

The underlying problem addressed by the update will be familiar to anyone working in audio post. Once a mix has been rendered to stereo or surround, the original elements are usually locked inside the file. Recovering dialogue or removing music normally requires the original multitrack project.

Machine learning separation models have recently begun to address this problem by reconstructing stems from mixed audio. CrumplePop 2026 joins that group of tools. Whether the separation quality holds up under complex mixes will depend heavily on the material.

The cautious verdict

CrumplePop 2026 expands the toolkit well beyond dialogue repair into broader audio demixing and remix preparation. The addition of GPU processing, on-the-fly rendering, and multiple separation models suggests that SoundApp is gradually evolving into a central utility for working with mixed audio.

Whether it consistently delivers clean stems from dense mixes remains to be tested in production environments. Because, as always, new tools and innovations should be carefully tested before deployment in professional pipelines.

https://borisfx.com/products/crumplepop/

The post CrumplePop targets baked audio mixes first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: DaVinci Resolve and Fusion Studio from Blackmagic Design cover edit, grade, comp and audio in one ecosystem. They run on macOS, Windows, Windows for Arm and Linux, with Desktop Video hardware for monitoring and dedicated control panels for tactile users.

Blackmagic Design has released DaVinci Resolve 20.3.2 and Fusion Studio 20.3.2. This is a maintenance update. No fireworks. Plenty of fixes. Sensible improvements in places that tend to bite.

The Resolve installer adds the main application, remote monitoring components and hardware control panel utilities. It also installs Blackmagic RAW Player and Blackmagic Proxy Generator. The free version of DaVinci Resolve 20 retains the same image processing pipeline as DaVinci Resolve Studio, supports unlimited resolution media, but limits mastering and output to Ultra HD or lower and supports only a single GPU on Windows and Linux.

Resolve Studio continues to offer multi GPU support, 4K output, motion blur effects, temporal and spatial noise reduction, multiple AI based tools, HDR tools, camera tracker, voice isolation, surround and immersive audio, additional Resolve FX, stereoscopic 3D tools and remote rendering.

Compatibility without time travel

Blackmagic states that project libraries remain compatible with DaVinci Resolve 19.1.4 at the database level. However, once a project is created or opened in 20.3.2, it cannot be reopened in 19.1.4. Facilities are advised to create full project library backups and individual project backups before upgrading. In shared environments, that advice is less a suggestion and more a survival strategy.

Edit page tweaks and trim discipline

A new preferences option enables dynamic trim in the Trim Editor on the Edit page. Dynamic trim adjusts edit points during playback, useful in dialogue heavy sequences and fast turnaroudn work. Subtitles receive more consistent kerning, a small but relevant change for broadcasters and OTT deliveries with strict QC.

Progressive renders are now supported for interlaced timelines with the same frame rate. Lens correction issues affecting vertical clips have been addressed. Media pool column header localisation issues are fixed, and slow media management startup in larger projects has been improved.

Magic Mask cache is now retained when pasting node attributes. Previously, pasting could invalidate cached analysis and trigger recalculation. The update reduces unnecessary GPU recompute in grading sessions that reuse node structures.

Faster AI scaling on Apple Silicon

SuperScale Enhanced is now up to 2.5 times faster when using the Apple Neural Engine. Blackmagic does not detail test conditions or hardware models. The claim applies specifically to SuperScale Enhanced and Apple Silicon systems with Neural Engine support. Not independently verified at press time.

Render speeds for side by side stereoscopic 3D renders have also been improved, although no numbers are provided. Timecode issues for proxies generated from stereoscopic 3D EXR files are addressed, along with incorrect render size estimates for some MXF clips.

Colour science and format fixes

Resolve 20.3.2 adds support for Fujifilm F Gamut C coloursapce and F Log2 C gamma. A ProRes RAW decode issue when using ACES has been fixed. Sony ARW decoding issues and incorrect pass through behaviour for some Sony XAVC renders are addressed.

Retention of MaxCLL metadata from XML when exporting IMF is corrected, relevant for HDR compliance. Several audio related issues are fixed, including problems with Dolby Atmos external renderers and an ADC reverb delay compensation issue in some projects. Support for Dolby headphone personalisation of binaural monitoring is added.

Fusion Studio joins the update

Blackmagic has also updated Fusion Studio to version 20.3.2. The installer adds Fusion Studio along with hardware control panel utilities, Blackmagic RAW Player and Blackmagic Proxy Generator. Fusion Studio 20.3.2 adds support for Fujifilm F Log2 C. It fixes issues with start and end render scripts on tools, resolves some character style problems in MultiText, and addresses an issue with the Import Footage menu. General performance and stability improvements are included.

Minimum system requirements across Resolve and Fusion Studio remain aligned with the current platform baselines, including macOS 14 Sonoma or later, Windows 10 Creators Update, Windows 11 for ARM on supported Qualcomm Snapdragon X Elite systems, and Rocky Linux 8.6 on Linux. Monitoring requires Desktop Video 12.9 or later.

Resolve 7 Resolve Studio 20.3.2 and Fusion Studio 20.3.2 do not introduce major new toolsets. They fix edge cases, improve consistency and add targeted performance gains. In other words, the sort of update most facilities actually need. As always, new tools and innovations should be tested before use in production.

// Quoted info
// https://www.blackmagicdesign.com/support

The post Resolve 20.3.2 tidies up the edges first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

If you don’t know the tool: Sequoia is a Windows only high end DAW from Boris FX for mastering, broadcast and audio post. It focuses on object-based editing, precise routing and reliability rather than trend chasing.

Boris FX has released Sequoia 2026, marking the first major version since the DAW joined the company’s product portfolio. The update focuses on video playback, external control and performance reliability rather than new creative paradigms.

The release targets audio post production, mastering and broadcast environments where Sequoia is typically used alongside picture and external hardware systems. Boris FX describes the update as a consolidation release that combines visible workflow enhancements with under-the-hood engine improvements.

GPU-accelerated video, properly integrated

The most significant change in Sequoia 2026 is a new, fully GPU-accelerated video engine. Boris FX states that the engine supports NVIDIA, AMD and Intel GPUs and is designed to improve playback stability and responsiveness when working to picture.

The engine introduces native decoding for AVC, HEVC and AV1, and adds native Apple ProRes support without requiring external transcodes. Boris FX also states that the video engine provides full resolution monitoring without preview downscaling and supports frame rates up to 60 fps. These performance claims are vendor statements and not independently verified at press time.

The company positions the new video engine as a practical requirement for modern audio post-production, rather than a feature expansion, citing smoother playback and reduced friction when working with contemporary picture formats.

Audio engine refinements for dense sessions

Sequoia 2026 includes updates to its VST3 based audio engine. Boris FX states that multicore CPU distribution has been improved, with smarter allocation across cores and reduced processing load from high latency plugins and AUX sends.

The company also highlights strengthened engine testing and error handling, intended to improve playback reliability during complex mastering and mixing sessions. Additional changes include an updated plugin buffer dialog and overload and noise protection refinements.

A new one click export option allows users to bypass active effects chains during rendering, enabling clean reference exports without altering project setups. These changes are presented as safeguards for critical production and mastering work rather than new functionality.

OSC support and external control

Sequoia 2026 adds native support for OSC, Open Sound Control, enabling remote triggering of recording, editing, mixing and transport functions over a network. Boris FX explicitly references use with broadcast consoles, large format desks, StreamDeck devices and OSC capable applications. The feature is aimed at multi room studios and facilities where DAW control is distributed across operators or locations.

The available documentation does not specify command coverage, mapping depth or latency characteristics. But there is an OSC monitor to check outgoing and incoming strings, and you can use the search field to display the menu ID. The program help contains some examples and suggestions. Facilities planning to rely on OSC control should verify behaviour against their specific hardware and network setups.

Soundly integration inside Sequoia

The release integrates the Soundly cloud-based sound effects library directly into Sequoia. Users can browse, search and preview sounds from within the application and transfer assets directly into projects. According to Boris FX, the library includes thousands of sound effects, Foley recordings, atmospheres and field recordings at multiple sample rates. Organisational features include tagging, favourites and custom libraries.

Routing and fades, incrementally improved

Sequoia 2026 introduces an enhanced FX IO Matrix. The updated matrix allows more detailed multichannel routing through plugins, including channel remapping, side chain setups and a Thru mode for distributing mono or stereo effects across surround and immersive buses.

The Crossfade Editor has also been revised. Boris FX describes improved visual context, quicker access to fade shapes via object handles, real time preview of fade curves and looped auditioning without interrupting playback. These changes are aimed at dialogue, classical music and broadcast editing workflows where precision matters. The underlying object based editing model remains unchanged.

Official onboarding and training material

Alongside the release, Boris FX has published an official introductory walkthrough video. The material focuses on interface navigation and foundational workflows rather than documenting new 2026 features. The walkthrough covers the Arranger, object-based editing, the Object Editor, track-based workflows using the Track Editor and Mixer, VST instrument handling, ASIO driver configuration, project creation, recording and export. It is positioned as an entry point for new users and a refresher for existing ones.

Pricing and availability

Sequoia 2026 is available immediately. It remains a standalone DAW offered via subscription, perpetual licence and upgrade and support plans. Pricing starts at 595 US dollars per year or 95 US dollars per month, according to Boris FX. Customers with an active Sequoia or Boris FX Suite subscription, or a current Sequoia upgrade and support plan, receive the 2026 release as part of their existing entitlement. As always, new releases should be tested carefully before use in real production and mastering environments without assumptions.

The post Sequoia 2026 gives audio post a video engine first appeared on DIGITAL PRODUCTION and was written by Bela Beier.