Showing posts with label mac. Show all posts
Showing posts with label mac. Show all posts

4/13/2012

Apple Logic Studio Review

Apple Logic Studio
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So you want a whole music studio for under $500? What are you, some kind of crazy Mac user?
Apple's generous price drop for this version of what many consider to be the ultimate music tool (and I'm one of those) has removed any excuse one may have for putting off this purchase any longer. Meaning they cut the price in half and added twice the features of the original: Not only do you get a leaner, meaner and much easier to use version of Logic Pro, but they've thrown in updated versions of Soundtrack Pro and Compressor (previously only available with Final Cut), a live performance module called MainStage, all five Garageband Jam Pack titles, WaveBurner 1.5 for CD mastering, new effects such as Delay Designer .... all you need supply is lots of time and about 45 gigs of hard drive space.
As a happy user of Logic since version 6, I found the upgrade (available for just under $200) easy to grow into, especially being used to Apple's other pro apps, and really appreciated the addition of Soundtrack Pro 2, whose predecessor I'd used more for track mastering. The newer interface for Logic is more self contained now, with sliding panels replacing all those open windows you used to have to deal with ... although that is still an option if you're a person who thrives on complexity. Now you can look at both the Arrange Window and Matrix Edit (now called "Piano Roll", how quaint) in the same window, just roll it in and out as needed. Same with Audio Mixer, Score View, Hyper Edit, etc. In keeping with this more streamlined method, some of the tools are more hidden away which, along with other changes, I'm quickly getting used to. Another rollaway panel gives you access to instrument settings (and other audio resources) by way of a Soundtrack-like browser -- don't like that piano sound and don't feel like scrolling through all of them? Just pick one off the list, and it's there!
Another nice feature you'll see right away is some handy standard templates: Now, instead of trying to figure out how many blank tracks, and what kind, you may need for a certain project, just click one of the template buttons and you're on your way. You can easily customize them if you're a seasoned user. The one that has this user the most excited is the orchestral template ..... a whole symphony orchestra, ordered the same as it would be in a classical score, with instruments already loaded and regions just waiting for note entry. Now that's power. You can transcribe classical works using Logic's score editor, which by the way will also print out scores should you ever hire live musicians for your compositions.
One thing that will make Logic veterans happy is, now you don't need the USB XS-Key to be plugged in to run the software. Upgraders only need it to install, then just unplug it and drop it in the box. New users won't even have to deal with it. They don't know what they've missed, and they're better off.
In summary, Logic is the solution for the Mac-based musician, as far as composing, arranging, recording, looping, producing, scoring, sound designing, whatever-ing in an audio capacity. No messy cables and reels of tape all over the place like in the old days, just launch and bring musical dreams to life. I can't emphasize enough what a good deal this is (without sounding like a salesman), and once you get over a slight learning curve you realize the possibilities are virtually boundless for what you'll come up with. Just be aware: this ain't no Garageband. Logic is for the serious musician or music producer for whom music matters above most other things. This is what obsessed people do with their time. If this sounds like you, well, you owe it to yourself to make the most logical investment.

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Logic Studio, Apple's comprehensive suite of professional music and audio tools, provides musicians with everything they need to create in the studio, on the stage, and for the screen. Logic Studio includes Logic Pro 8, Apple's legendary professional music production application featuring a new, intuitive interface; MainStage, an innovative new application for music performance; and Soundtrack Pro 2 for audio post-production and sound design. It also includes Studio Instruments and Studio Effects, with 40 acclaimed instruments and 80 professional effect plug-ins; an expanded Studio Sound Library; and new production utilities--all in a single box at an incredible price.

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4/03/2012

iLife '11 Review

iLife '11
Average Reviews:

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I'm not sure how to review this: some people could potentially be buying this to upgrade a very old version of iLife. If I review this as a standalone piece of software, it's fantastic and quite a value. For less than $50 you get a world class digital music studio, one of the best photo organizing programs, and a remarkably capable video editing package. (Oh, and passable web editing and DVD authoring programs, but nobody cares much about those, least of all Apple.) Easily five stars.
However, if I judge this as an upgrade from iLife '09, it's extremely weak. Here's what you get of any substance: the ability to better edit audio in iMovie, slightly better full screen modes in iPhoto, really impressive time warping facilities in Garage Band to fix timing, and some very nice guitar and piano lessons which actually show you where you making mistakes. All great features, to be sure. But are these worth $50 if you have '09? Probably not.
The frustrating thing is that the most major feature in this upgrade is just plain silly: they added the ability to make cutesy little fake "trailers" in iMovie. This is apparently their big innovation. You can now replace your boring home movies with one of eight or so two minute jokes that I guarantee you will get old very quickly. Very quickly. They also added a fake news program theme, and a fake sports theme. All very gaudy and over-the-top, even for iMovie standards. And not at all useful beyond just playing with them once.
It's pretty clear that Apple's focus has shifted away from Mac OS X and iLife and on to the greener pastures of iOS: the iPad and iPhone. In fact, from now on we'll likely see features come first to their consumer devices, and then later to their desktop computers. I'm afraid the days of getting truly major updates to iLife every two years is a thing of the past.
So, as an upgrade from '09, I give this one or two stars at best. If you're upgrading from '09, I hope I've saved you some money. Otherwise, this is a great software package, easily five stars, just not much of an improvement from what you could get two years ago. As such, I'll split the difference and give the package three stars.

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iLife '11 helps you do more with photos, movies, and music than you ever thought possible. In iPhoto, you can browse, edit, and share your photos in stunning new full-screen views. Create epic Hollywood-style movie trailers from your home video in iMovie. And GarageBand gives you everything you need to make a great-sounding song—including tools for keeping your song in perfect rhythm and guitar and piano lessons.


The incredible new iPhoto, iMovie, and GarageBand.

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12/09/2011

Roland Cube Monitor / PA Review

Roland Cube Monitor / PA
Average Reviews:

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I'm frankly sick and tired of showing up for a gig and having my keyboard run through the P.A., thereby in essence causing me to forfeit all control of the instrument to the bandleader (or board op). Still, I've had to concede that the amps I've been using--a Roland KC150, then a KC350--had plenty of power and pop but no sonic attributes that would recommend them above the Bose P.A. set-up the band uses. Then, because I needed a small amp with an XLR connection for use as an emergency P.A., I picked up this relatively new item from Roland, which prominently describes itself as a "monitor" amp (i.e. meant only for the performer's ears).
Was I surprised when I got this thing home and put it through some rounds with a Kurzweil PC2 and SP2. It's little more than a compact brick, but it appears to have the power of my KC150 and, more importantly, in terms of "listenability" it sounds like its several heavens apart from the KC 150 or 350 (those ever-present Roland KC amps will make any piano, including Rolands, sound uninspiring if not boring during the course of a four-hour gig). This latest contender covers the entire piano range, effortlessly, smoothly, providing rich yet responsive bass where its needed and brilliant but not strident highs. Perhaps some would judge the sound a trifle "colored." If so, I'll take the coloration any day to the untempered sounds I've been getting from electric keyboards. The mid-range is tight and controlled, with the upper register "growing out" of it gradually but unmistakably. By contrast, the upper register on the heavy-duty KC amps strikes like a serpent, leaping out of the mix like home-brewed white lightning hitting the palate after it's just gotten accustomed to a vintage Bordeaux.
I even compared this little thing to my previous standard--the Roland Cube 60 that had preceded the KC150 (which has been around too long). This new one was smoother, bending to the bass notes like a gracious willow and springing to the top ones like fresh spring birch. In other words, even the Roland Cube sounded uneven and rough compared to this latest overachiever, which handled the tones of the scale like a single portamento, revealing no holes in any of the registers.
Playing any instrument or amplifier on the job can lead to a judgment radically different from the one made at home. If my instruments (I'm usually playing 2-3) have to be mixed through the P.A., fine. I won't have to listen to them. They'll be processed by this monitor, which will be facing and playing for me before it kicks out the stuff that the bandleader deems worthy of the public's ears.

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Built to handle a wide range of recording and mixing applications, the Roland Cube CM-30 monitor/PA can be used for live monitoring onstage as well. Delivering 30 watts of punch through a rugged, high-quality 6.5-inch coaxial two-way speaker, the Cube CM-30 can be easily and safely toted from location to location thanks to its built-in handle grip, protective metal grill cover, and cabinet corner protectors.

Key Features
Ultra-versatile monitor for studio, stage, and more
30-watt 6.5-inch coaxial 2-way speaker with stereo preamp
Three input channels, with one XLR input for mic/line and two additional Aux inputs
Stereo Link function for stereo connection between two units, which allows a total of eight stereo inputs and two mono mic/line inputs
Metal grill cover, corner protectors, and handle grip for carrying the unit safely

Specifications
Rated Power Output: 30 W
Speaker: 16 cm (6.5 inches) + Tweeter (Coaxial 2-Way)
Nominal Input Level (1kHz)
Channel 1(Mic/Line): -50 to -20 dub
Channel 2, 3 (Line): -20 dBu
AUX IN 1, 2: -10 dBu
Stereo Link Input: -10dBu

Nominal Output Level
Stereo Link Out L, R: -10 dBu

Controls
Channel 1 (Mic/Line) Volume Knob
Channel 2, 3 Volume Knobs
Stereo Phones Level Knob
Equalizer: Low Knob, High Knob
Volume Knob
Power Switch
Connectors
Channel 1 Input Jack (XLR type, 1/4" phone type)
Channel 2, 3 Input Jack L (mono)(1/4" phone type)
Channel 2, 3 Input Jack R (1/4" phone type)
Aux In 1 Jack (RCA phono type)
Aux In 2 Jack (Stereo miniature phone type)
Stereo Link Out Jacks L, R (1/4" phone type)
Stereo Link In Jack (1/4" phone type)
Stereo Phones Jack (Stereo 1/4" phone type)

Power Consumption: 32 W
Dimensions: 8-7/16 x 9-3/8 x 10-7/8 inches
Weight: 12 pounds, 6 ounces


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