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Winner: Logic Pro Audio recording and editing In fact, it’s only been added to over the years with a raft of worthy new MIDI features, the most notable being Logic Pro 10.5’s superb Step Sequencer. Defying the popular assumption that their buying of original Logic developer Emagic in 2002 would lead to a dumbing down, the fruity tech Goliath hasn’t removed a single MIDI-related feature – it’s all still there, from the Environment and Transform module to the Dynamics, Gate Time and ‘Q’ settings in the Inspector. On the other hand, Apple are to be equally commended for maintaining the formidable complexity for which Logic’s MIDI architecture has always been known. Very rarely do we find ourselves wishing for any specific MIDI editing feature in Live that can’t easily be worked around – with the possible exception of an event list, as being able to filter and alter MIDI data numerically would be hugely useful.
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Indeed, Ableton have done a sterling job of keeping this fundamental part of the system free of clutter.
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Later this week, I’m planning a Logic Q&A to fit some of the technical revelations that didn’t fit in the review, so feel free to ask more questions or comment however you like on the Macworld review.… whereas Logic treats users to an increasingly full selection of composition options (Image credit: Future)įor most Live users, however, none of that matters – the MIDI programming paradigm, and the contemporary producer’s technical expectations, have changed a lot since the 90s, and most won’t even be aware of the things that their DAW is ‘missing’. And I know we have a number of readers using Logic. If I ever work out a good way to describe that in words – which does happen to be my job, whether I’m up to it or not – I’ll let you know.Īny tool you’re using is a tool that matters. Personal taste is more likely to dictate which you prefer, because the ineffable feeling of using these tools – as similar as they may look on paper – is very different.
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In fact, various tools are so good that I think it’s really hard to give people advice.
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And Reaper is a powerful, cross-platform option that costs just US$60, even for most commercial work (now that they’ve made the individual license more open). Cakewalk’s SONAR, once a little more bare-bones in the extras department than Logic, now offers a lot of the same sorts of goodies to Windows users in its own (underrated, I think) DAW. Digidesign will add a pretty powerful version of Pro Tools to a hardware bundle. I’d buy that, except for some of Apple’s own competitors. I find it amusing that some claim Apple’s aggressive pricing is only possible because they sell hardware. The record industry may be dying, the planetary economy failing, and music technology elusively complex to most average musicians, yet competition in the DAW space just continues to heat up. Oh, and one little improvement I didn’t fit in the review: there are some amazing special effect convolution impulses Apple threw in with Space Designer, which should give you more fodder for sound design experimentation. (Meanwhile, I’m trying to figure out how I can rework my own live set so it requires less software, but that’s me.) Apparently MainStage has crept into some big-name live shows I’m going to work on getting more reports from the field. The amps and such are fun, but to me the other banner feature in Logic 9 is the vastly improved MainStage, which adds backing tracks, ReWire hosting, and other features that could make it more powerful for live performance.
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MainStage adds backing track playback, looping, and ReWire hosting to make it more versatile for live performance.