Logic Pro X 10.1 and Apple’s software woes

If you are a Logic Pro X user you will probably already be aware that Apple have released version 10.1 of the software. It’s an incremental update (we know this because it’s free) but still contains many new and useful features, including mellotron sounds for EXS24, a re-designed Compressor plug-in, the re-introduction of region based automation, and a list of bug fixes. This time it’s noticeable that Apple have only listed 7 fixes in their release notes (rather than the 24 in the 10.0.7 update). Under the heading “Stability” the text reads .. “Logic Pro X 10.1 includes improvements to stability including, but not limited to fixes for” .. after which the 7 fixes are listed.

The phrasing of this text raised eyebrows here because the initial version of Logic Pro X was undoubtedly one of the least stable versions of any DAW software ever, and the 10.0.7 update didn’t stop our 8-core Xenon MacPro quitting at least twice during every session. Using it has been like walking on eggshells. We’ve even rediscovered our cmd-s twitch, standard operating procedure back when we used an Atari ST and Cubase.

A member of our team remembers working at a pro audio retailer 15 years ago. The salesman were eligible for a full (so called VIP) copy of Logic Audio (probably version 2 or 3) for a 10th of its retail price (then about £500). Emagic believed that if salesman were using it, they would evangelise it to their customers, and they would take market share from Steinberg. It worked. Our colleague installed it on his Power Mac 8200 and was amazed to find it didn’t crash for 9 months. Yes 9 months! He was an immediate convert and transferred all his Cubase projects.

Since Apple bought Emagic the stability of Logic has declined but the seriously unstable nature of version 10.0 was a shock. This version not only introduced significant new features but also a completely new look to bring it in line with other Apple products. Anyone who has programmed knows that changing the interface of a programme is a relatively simple process and certainly does not require changing underlying algorithms. Therefore the first hint that all was not well was the unfinished update to the environment. It sported the old graphical style and had very very serious bugs. In the latest update the look has still not been updated.

We cannot yet comment on the stability of this new version, but we can say something about Apple’s wider software issues. The problems with iOS8 are well documented as are issues affecting core Apple applications such as Mail and iCloud. Mavericks has a tendency to lose connections with local servers and a couple of basic Finder bugs have emerged that produce incorrect layering of windows.

The wider online community is starting to question Apple’s ambitious release schedule of a major OS update each year. Is this simply too fast to ensure stability and quality? Apple has huge resources but even it can’t bend time and no matter how many engineers you throw at a problem you need time to consider, reflect and make the correct engineering decisions.

We know that despite selling more Macs than ever, Apple has morphed into a consumer mobile electronics company. Even their advertising looks like Benetton or Coca Cola these days. The question is, with so many divisions focusing on selling more iPads and iPhones, do they have the will to continue providing stable tools for professionals too?

What do you think? Thanks for reading.
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6 reasons why we don’t need hi-res audio

Over the last 12 months the call for high resolution audio to be adopted for listener delivery formats (eg MP3, ACC, streaming, CD, iTunes, DVD etc) has moved from audio professional forums, into the mainstream.

Neil Young, among others, has been vocal about the shortcomings of CD and MP3 audio (but still found time to record an LP in low-fi vinyl 1940s recording booth!). Despite being known for the distinctly lo-res nature of many of his recordings, he has been instrumental in the development and marketing of his own hi-res audio Pono playback device (guess who’s top of the Pono chart!).

He and others believe the time is right to significantly improve the listener experience by ..

- increasing the sample rate and word length of digital audio

- scraping, or decreasing the negative effects of, lossy compression codecs such as MP3

- adopting raw PCM audio or lossless formats

We love Neil Young (especially Tonights The Night), but does he really have a case? CD quality audio, which first reached mainstream acceptance in 1987, is indeed an ageing format. These are, we think, the primary arguments for hi-res audio ..

- On paper, CD quality audio (44,100 samples per second) seems barely adequate for the highest frequencies at 20KHz, taking only 2.14 sample per cycle (it's fine for low frequency harmonics)

- The 16-bit word length of the CD format is out of date now that 24-bit audio is standard for even the humblest of home recording studios

- MP3 was developed to get around the bandwidth limitations of early dial-up connections, but we now have internet connections (broadband, 3G, 4G etc) more than capable of higher quality

- Portable SDD storage is up to the task of larger files

- DVD and Blu-Ray are already capable of holding larger files

- We have HD TV and video, why not HD audio?

All good and well. However, we think their are 6 reasons which undermine the case for hi-res audio ..

1 At it’s highest audio data rate setting (320kbps), in a blind test, even many professionals find it hard to hear the difference between MP3s and a hi-res audio file (eg raw uncompressed PCM data)

2 If you double the CD sample rate to 88,200, you still only have a little over 4 samples per cycle at 20kHz, hardly a quantum improvement (and the file sizes doubles).

3 There is no objective evidence that encoding/recording sound above 20kHz is audible in any way, and no way to prove it (hearing is subjective). Our hearing degrades as we move into adulthood, and few 18 year olds will be able to hear much above 18kHz. And it's all downhill from there.

4 24-bit word lengths are important for tracking and mastering but its arguable whether an audience will hear the difference. They may just complain they can't get as many tracks on their phone.

5 Most music is listened too on either crappy ear-phones, mini / shelf hi-fi systems (hi-fi? don’t make us laugh!), or in situations with high background noise (eg in car). The days of good sound in the home (the halcyon hi-fi years!) are long gone. How many people do you know who have a decent amp and monitors (i.e. costing £1000 plus?).

6 All previous attempts at getting listeners to buy hi-res formats, and change their playback technologies (car stereos, phones, video and CD players etc) have failed, most folks just can’t hear the difference!

We love hi-quality audio, but in our experience the best improvements are heard when a recording is well recorded, mixed and mastered, and played back via a good amp and speaker combination (think £1500+). Oh, and if the performance and songs are great! You’d be surprised how good CD can sound.

We’re off to listen to Revolver. In mono. On vinyl (sounds good to us).

What do you think? Thanks for reading.
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Powering your studio gear

Every home studio owner knows that as soon as their collection of equipment grows past 5 or 6 devices, powering them safely and ergonomically becomes challenging.  Here in the UK we have the robust and safe, but hefty, 13 amp plug.

Because most studio gear has a relatively low power draw (watts), we can happily use a plug-board with multiple sockets plugged into a single wall outlet. We can also create a hierarchical (think family tree) arrangement of plug-boards with one master into which the others are plugged (never daisy chain plug-boards).

In the days of analogue, and substantial devices with large fans and motors, this was never an option, and a separately isolated and fused mains ring (free from household appliance thermostat interference) was the way to go (it still is if you have the option), with each device plugged into it’s own wall socket. Today, with the popularity, affordability and convenience of digital devices, such expense is no longer necessary.

However, the problem with using plug-boards is they take up a lot of space and cannot always be neatly integrated into a rack. The solution is to buy a 19” rack distribution unit with multiple IEC sockets (usually 8 or 9). You can locate your unit at the top or bottom of a rack cabinet along with your other gear, and run a single cable to your wall socket. Each audio device is then connected to the unit with a simple IEC male to female lead.

If any of your audio devices have a captive lead (not many do), you will need to remove the plug and replace it with a male IEC connector. If the plug is moulded onto the cable and your device is still within warranty you may find removing it invalidates it, so check first.

There are many 19” rack IEC power distribution devices on the market and prices vary hugely. Some claim to suppress interference from thermostats and light switches but in our experience they can't filter everything and a separate mains ring for your studio is the only solution.

In the past we have tried expensive brands such as EMO and Furman but have settled on the simple and cost effective Samson PowerBrite PB10. The components are simple and robust, and there is nothing to interrupt the simple flow of current. Repairing them is a breeze and the parts are readily available and cheap. For static home installations there is no need for anything more sophisticated or expensive. Oh and you get 5 or 6 free leads with it. What’s not to like?

Hope you found this post useful. Thanks for reading.
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Synths without MIDI

We recently dusted down and refurbished (we vacuum cleaned it)! an old and much loved Roland SH101. Every once in a while a genuine bargain drops in your lap and this SH101 was one of them.

Many years ago we got talking to a session trombone player who was working on a Jeb Nichols album we were recording, and he mentioned that he had bought a synth to help him work out brass harmony parts. Problem was the synth would only play one note at a time. No good to him, and did we want it?

He brought the synth to studio shortly after and it turned out to be a mint condition SH101, the batteries and manual still sealed in plastic. He wanted £50 for it, but not wishing to take advantage we suggested £50 plus a free recording session and we shook hands.

As you may know, the SH101 is one of the classic mono synths. The only things it lacks are a second envelope (rare on mono synths in those days) and MIDI connectivity. We solved the MIDI problem by buying a Kenton interface and used it happily in our sequencing setup for many a bass and lead line.

A few years later we acquired a Waldorf Pulse, and as this had a separate extra built-in CV to MIDI converter we sold the Kenton and hooked up the SH101.

Years passed, the SH101 was mothballed for reasons we forget, and the Pulse died. So now we have an SH101 without MIDI once again.

Perhaps because there are so many sequence-able plug-in alternatives, or our playing has improved, but we suddenly find that playing and recording the synth live, and without MIDI has bought a new dimension to the process. Well, Stevie Wonder didn’t use a sequencer did he? And if we capture a great take with a couple of bum notes, we can just pitch and time correct them in Logic.

In fact, we’ve started recording some of our other MIDI synths live, and it really does add an extra human and organic feel to the recordings. Now we come to think of it, many of our favourite albums were made like this.

Did MIDI make us lazy and did the music suffer? What do you think?

Thanks for reading
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Using MDF for building recording studio furniture

If you are building a studio, the time will come when you need to create custom furniture to suit your needs and the equipment you own. You can buy it, but it’s expensive and may not be exactly what you want. Typically a studio may need ..

1. Workstation desk, with room for a computer (monitor, mouse, keyboard), monitor speakers and control surfaces
2. 19” racks
3. Bespoke stands (eg to angle monitors or remotes, etc)
4. To create acoustic panels (eg reflectors, absorbers etc)

Our first builds used good quality wood and designs tailored to the exact needs of the equipment we had at the time. But experience has taught us that this does’t work and here’s why ..

Studios are a work in progress. They are never finished, they just evolve as gear is added and exchanged. Therefore building inflexible furniture tailored to a fixed equipment inventory can often be a waste of time.

What most studios need is furniture that is ..

1. Cheap, so it doesn’t matter if you scrap it when your needs change
2. Easy to build and customise
3. Modular
4. Mobile (put castors on everything!)

The answer is to use MDF (medium-density fibreboard) board. Here’s why ..

1. It’s cheap
2. Very strong
3. You can get your local timber yard to cut pieces to the exact sizes you need (measure twice!)
4. It’s a breeze to finish with an electric sander and fine hand held sandpaper (no splinters)
5. It’s easy to varnish or paint
6. If you screw it together you can disassemble it and re-use it
7. It’s easy to install rack strip, cable management devices, and cut holes for cable runs

Our advice is ..

1. Use 18mm (thick) MDF. 15mm is too thin, will easily warp and is harder to join with screws.
2. If you’re going to glue it, use good wood glue and clamp the pieces together for at least 1 hour.
3. Use steel right angles to improve strength and hold pieces together before you drill and screw them.
4. For large items, such as 19” racks, use screws approx 50-60mm long and pre-drill holes with a bit that is just a little thinner than the screw.
5. Use a countersink bit so the screw doesn’t stand proud of the hole.
6. Always finish surfaces with paint or varnish. MDF will disintegrate on contact with liquids. We prefer satin or hard gloss. Apply 2 coats and sand with fine sand paper between coats.
7. Try and think modular. Four stackable 10u 19” rack cabinets may be better than a single 2 column 20u cabinet.

We hope you find this advice useful.

Thanks for reading.
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