Windows matters. It’s what roughly half of CDM readers use, and – for all the attention Apple gets – it’s a big part of the computer music world. Windows today also faces many of the same under-the-hood challenges that other operating systems do, so even if you’re a die-hard Linux or Mac user, you may want to pay attention.  You don’t need to love Windows, and you certainly won’t be hosting a Windows 7 launch party. You want to know if the OS will get out of your way and let you get to work.

Windows Vista proved what happens when an operating system’s many interconnected pieces are out of alignment. Even a graphics driver out of sync with underlying changes in the OS could render audio unusable, because just one missed sample can produce an audible glitch or dropout. Part of why I’m optimistic about Windows 7 is that Vista today is a radically different picture, thanks to many, many fixes delivered by Microsoft in updates and more mature audio and video drivers. But that means not just whether 7 is better than XP, but whether 7 is also better than Vista.

Vista wasn’t entirely alone: Mac and Linux have all had their share of growing pains in recent years. The devil is usually in the details. So, I again turn to one of the best guys in the business for sorting out all those technical details. Noel Borthwick, the CTO for Cakewalk, probably has a better big-picture view of how music and audio work in Windows than anyone on the planet. He’s a person hardware and software vendors outside Cakewalk often rely upon as a resource. Noel kept us technically honest on Vista, and he’s doing it again on Windows 7, with some exclusive information for CDM.

Those details get mighty technical, so here’s the punchline: Windows 7 is an OS Noel would use himself. It was hard to get anyone to recommend Vista over XP; loyal Windows-using developers I know still largely stick to XP. But would Noel switch from XP to 7?

Yes, absolutely. Windows 7 finally delivers on the stability and performance that users hoped for from Vista. The kernel changes and optimizations for large scale multi-core processors make it very attractive to DAW users who are interested in better low latency performance. I will be building a new DAW soon and Windows 7 X64 will be my OS of choice.

What’s new in Windows 7?

• Better multithreading: Improved performance of highly-multithreaded software and hardware by removing a significant bottleneck, especially relevant to a tool like SONAR
• Better memory management: Improved memory management when working with multiple threads
• Less nagging: More customization over UAC prompts (meaning they don’t have to nag you more than you want)
• More lightweight: Fewer system services run by default on a stock system, plus a leaner footprint of the OS
• Media support: More native media format support, including QuickTime MOV and H.264, plus drag-and-drop media transcoding
• Composite devices: More logical display of hardware with multiple functions (like audio and MIDI).
• FireWire: Enhanced FireWire support, with IEEE 1394b
• Multi-touch: Multi-touch display support
• Usability improvements: An improved user interface, task bar, and Libraries for managing files

If you’re ready for all the gory details, read on – including a frank appraisal of how all of this compares to XP in real-world performance, and what compatibility issues to look out for if upgrading from either Vista or XP.

Noel Borthwick of Cakewalk effectively wrote this story in response to my questions, so these answers all come from him. Microsoft has not responded to my requests for a review copy, so I’ll be able to evaluate this on my own system – albeit far less scientifically than Noel can – closer to launch.

WARNING: Extremely geeky details of the inner workings of Windows 7 follow, in keeping with our “never dumbed down” policy. If you’re a developer, you can likely get some leads on how to better support Windows 7 in a single point, something even Microsoft doesn’t provide as completely. But if you’re willing to dig, you get a rare view of the OS from a developer view – no marketing speak, no cheerleading, no fanboyism, no platform wars, no writing for the lowest common denominator.

What Actually Improves Audio Performance

Peter: In terms of performance for audio production, what are the significant differences in Windows 7?

Noel: Windows 7 on the surface is very similar to Windows Vista. It has the same audio driver support and same audio system infrastructure as Vista. However, it’s some of the under-the-hood improvements that are more significant for audio production. There are some interesting innovations and optimizations in the Windows kernel, making the OS more scalable for concurrent processing. This makes it attractive for highly multithreaded applications like SONAR. Additionally there are various new API’s/SDK’s that may be of significance to developers. Some highlights are below:

Multi-threading: Removal of the kernel “global dispatcher lock”

In Vista and earlier, on a highly multi-threaded system (e.g. SONAR running on an 8 core hyper-threaded Intel Core I7 PC), you have many threads all processing tiny audio buffers at low latency. All these threads are ultimately waiting on the dispatcher lock when it comes time for them to be managed by the Windows scheduler. This global lock becomes a bottleneck in the system and prevents efficient multi-core workload distribution and scalability. This problem gets magnified as you increase the number of cores since they are all gated by a common lock. In Win 7 the kernel team changed the logic in the Windows scheduler to abolish this global dispatcher lock and use per object locks. This effectively removes this age old bottleneck and allows Win 7 to scale better even under workloads of 256 processors.

This change means a lot to applications like SONAR that rely on multithreaded processing of very small workloads. Initial benchmark results have been promising in this regard. SONAR performs more efficiently at low latency on multi core machines.

Improved Memory Management – PFN database lock

The PFN (page frame number) database lock was used by the memory manager to lock pages of memory in the working set. Like the dispatcher lock above, this would gate memory access from different threads causing resource contention. Work in this was first done in Windows server 2003 SP1 and Windows 7 has now has this optimization as well, improving asynchronous access to memory.

Power Optimization: Core Parking

Windows 7 has a new feature called Core Parking. Core Parking is a power saving optimization that shifts processing load to one or more cores and puts other less busy cores to “sleep”. The objective is to let other cores idle if workload levels allow for it. This optimization had us scratching our heads when we ran a benchmark test on a Quad Core I7 machine. At any point in time, we would notice that some cores were idle in task manager. The reason for this turned out to be Core Parking. Core parking can be useful to save battery life while running projects on laptops.

Better WaveRT Performance

Unlike Windows Vista, Win7 now uses event mode internally. This is good news, since it will help guarantee that HDAudio drivers in Win7 support WaveRT event mode properly. Additionally event mode is now part of WHQL logo certification for driver vendors, so any WAVERT device must support this to get a Win7 compatibility logo.

Ed. note: The plain-English translation here is that WaveRT, Microsoft’s own real-time audio driver facility, now is more likely to work the way you expect. Cockos, makers of REAPER, actually provided the ability to turn off WaveRT Event Mode at the end of last year because of unpredictable results. Windows 7 should resolve these issues.

Other Improvements

Peter: Noel also assembled some other improvements worth noting in Windows 7. They’re subtle, but useful: you may finally be able to avoid installing QuickTime/iTunes just to play some video files, interfaces with audio and MIDI jacks don’t have to show up separately any more, there’s improved FireWire support, usability improvements, and multi-touch on mainstream computers is now nearly here.

Noel:

Additional File Format support

Windows 7 adds native playback support for media in MP4, MOV, 3GP, AVCHD, ADTS, M4A, and WTV multimedia containers. It has native codec’s for H.264, MPEG4-SP, ASP/DivX/Xvid, MJPEG, DV, AAC-LC, LPCM and AAC-HE

Yes you read that right – QuickTime MOV file support is now natively available in Windows 7 so you don’t need to install QuickTime. Another big plus is that this is supported under the X64 version of Windows 7 as well, something you cannot do with Apple’s native QuickTime itself!

All media files using these codec’s should play in Media Player. It appears that these new codec’s are exclusively available to Media Foundation applications and not via other legacy API’s such as DirectShow etc.

File format transcoding

File format transcoding of many popular formats is now built into the Windows 7 shell. I.e. dragging and dropping files onto a device automatically performs the necessary format transcoding if the format is supported. This was primarily done to copy formats to portable devices like cameras but should be useful in other scenarios as well.

Multi-function devices and Device Containers:

Prior to Windows 7, every device attached to the system was treated as a single functional “end-point”. While appropriate for single-function devices (such as an audio interface), this does elegantly represent multi-function devices such as a combination audio/MIDI interface. In Windows 7, the drivers and status information for multi-function device can be grouped together as a single "Device Container", which is then presented to the user in the new "Devices and Printers" Control Panel as a single unit.

http://www.microsoft.com/whdc/Device/DeviceExperience/ContainerIDs.mspx

Note: this should not be confused with device aggregation as is available with Core Audio on Mac OS. On the Mac, you can treat multiple audio interfaces as though they’re one interface, so, for instance, you could get extra outputs by combining a couple of audio interfaces, and your software will see them as if they’re just one box. But SONAR provides this capability on its own, so if you’re a SONAR user, you can get the same functionality.

FireWire/USB

Windows 7 contains a new FireWire (IEEE 1394) stack that fully supports IEEE 1394b with S800, S1600 and S3200 data rates. According to reports, USB 3.0 may be supported in a future Windows Update. It was initially planned for Win7 but is not supported in the shipping version of Win7 due to delays in the USB 3 specification.

Multi-touch

Windows 7 includes integrated support for multi-touch displays.

Libraries

Libraries are user-defined collections of content including folders. It’s a handy way to categorize and create shortcuts to samples, music, etc. Special shell folders (Documents, Pictures, Music, and so on) are now Libraries.

Accelerators for Windows

Windows 7 Accelerators provide a way for learning more about selected text, optionally using voice control.

Virtual hard disks

The Enterprise and Ultimate editions of Windows 7 incorporate support for the Virtual Hard Disk (VHD) file format. VHD files can be mounted as drives, created, and booted from.
An installation of Windows 7 can be booted and run from a VHD drive, even on non-virtual hardware, thereby providing a new way to multi boot Windows.

Leaner Footprint

Win7 has a leaner footprint and has been tweaked to work well on less powerful PC’s, laptops and Netbooks. I have heard reports of Win7 working more smoothly on machines that would be slow under Vista.

Listen Mode

Another nice touch in Win 7 is that they now have a listen tab in the audio properties. Turning on "listen mode" basically routes input to the default output device allowing you to monitor an input device in Windows itself. Sadly this runs via the Windows audio engine which is always running in WASAPI shared mode, so it’s subject to a 30 msec delay. Of course you can always load an application like SONAR and route the audio inputs to an output for low latency monitoring.

Compatibility: What to Watch

Upgrading from Vista

Peter: Relative to Vista, are there any changes that are likely to introduce new compatibility issues with hardware or software?

Noel: With any new OS there is always the potential for compatibility issues. Win7 is built on the Vista foundation and one of its goals was better compatibility. As such most applications that are Vista compliant should work as well or better in Windows 7. UAC in Windows 7 has been improved so this might also help with general compatibility problems with some applications.

We have run into only a couple of compatibility issues in Win7 during the course of our development/testing of SONAR 8.5.

The MMIO API in Win7 (typically used for writing RIFF wave files) has a compatibility issue with the mmioDescend API with LIST ‘WAVE’ chunks. This caused our code that reads audio bundle files to fail and read scrambled audio data. We worked around this problem in 8.5

In WASAPI exclusive mode under Win7, the minimum latency you can achieve is now unfortunately 3ms and the code reports an error if lower. The fact that Vista has no such limitation has been reported to Microsoft. Hopefully its a mistaken fence in their code and this issue is fixed via an update, since it’s a step backwards for low latency in WASAPI mode.

Ed.: That last issue is an interesting one for anyone really pushing the envelope with low latency, so I’ll keep in touch with Noel if there’s any update.

Upgrading from XP

Peter: What hardware and software compatibility issues should users be aware of if they’re thinking of migrating not from Vista but from XP to Windows 7?

Noel: The compatibility issues that typically affect users migrating from XP to Vista/Win7 are:

UAC problems: Many applications and plug-ins are not built to handle the newer security settings in these OS’s. For example, if an application relies on something that requires administrative access it will fail when running as a limited user in Win7. This is a serious issue since in Vista/Win7 even if you are running from an administrator account; programs are launched by default with limited user privileges. Unlike XP, you have to explicitly run as an administrator to use such programs. To be Win7 logo-compatible, all applications need to should support running as a limited user.

Drivers: Although for most practical purposes audio drivers in XP and Windows 7/Vista are similar (you still need to write WDM drivers) there are sometimes quirks in specific drivers may cause problems. Most typical driver issues here are caused by installers that make assumptions about the OS version. In many cases this issue can be solved by the end user by setting the “compatibility mode” to Vista in the file properties for the appropriate driver installer file. (Right click the setup exe file to set its properties)

Ed.: I don’t feel either of these is a deal-killer, as I’ve been living with Vista for some time, but they’re still worth watching out for if upgrading from XP. And it means if you have an older machine that’s still working properly, you’re just likely to leave it on XP and worry about sorting the upgrade on a new box.

Less Nagging?

Peter: We talked when Vista came out about User Account Control and particularly audio-specific tasks that required elevation or different handling of permissions in Vista. I know UAC has been streamlined in W7. Do these changes impact audio apps at all? Are there corresponding under-the-hood changes?

Noel: The UAC changes in Win7 are primarily to allow more customization over the UAC elevation prompting process. There are no changes to the fundamentals of how UAC itself works that I am aware of. The classic problem with audio applications with UAC is when programs or plug-ins write to areas of the registry or file system prohibited from standard user access. Even when you are running as an administrator, by default when you launch a program (or the program itself launches a secondary process) Windows 7 will run that process with standard user privileges. If a program or plug-in attempts to write to an area which it doesn’t have write privileges for, virtualization will kick in. While this may allow the program to work, in general it is bad practice to rely on virtualization, since it can cause many unwanted side effects and behaviors in applications.

There are now four customization settings for UAC:

1. Never notify (least secure). The user is not notified when a program tries to install software or make changes to the computer. The user is not notified when they make changes to Windows settings or when programs try to do so.

2. Only notify me when programs try to make changes to my computer. The user is not notified when a program tries to install software or make changes to the computer. The user is not notified when they make changes to Windows settings. However, the user is notified when programs try to make changes to the computer, including Windows settings.

3. Always notify me. The user is notified when a program tries to install software or make changes to the computer. The user is also notified when they make changes to Windows settings or when programs try to do so.

4. Always notify me and wait for my response (most secure). The user is notified when a program tries to install software or make changes to the computer. The user is also notified when they make changes to Windows settings or when programs try to do so.

Customization and Tuning Advice

Peter: How much customization would you advise people do to their OS? That is, you’ve just installed a build of Windows 7 for working with SONAR on a test machine. Do you run the stock configuration, or start turning off services, disabling disk indexing, etc.?

Noel: Optimization and customization is a topic that can’t be fully discussed in the scope of a brief article. In general you need to optimize a system when you have known bottlenecks. Otherwise you can spend a lot of time tweaking things that have little effect on the end goal. In fact, you may even end up destabilizing a perfectly working system. A stock Win7 machine is not optimized for audio necessarily but it appears MS put some thought into trimming out unwanted startup tasks to cut down on startup time. For example there are now “Triggered start services” in Windows 7, so out of the box you can have fewer services running after a fresh boot. There are probably many background services in a modern DAW that could be suspended if you don’t need them but they should be evaluated on a case by case basis depending on what you use the machine for.

Peter: A lot of users were advising running Vista with Aero off, certainly in the early days. Do you think it’s now advisable to leave Desktop Window Compositing switched on for audio work? (Note: I am aware that there’s actually no way to *completely* disable the Aero windowing environment in a way that it reverts to XP, as even in Class mode with no compositing settings the engine has been altered.)

Generally speaking, turning off Aero will free up some resources on your system, since it uses more costly 3D graphics rendering and transparency a lot. However on any modern graphics card, Aero offloads a lot to the GPU so unless your DAW is also competing for the same GPU resources, turning it off may or may not make an appreciable difference to performance. Most applications that are not graphics intensive use GDI for rendering to the screen and since GDI doesn’t take advantage of DirectX hardware acceleration it’s normally not contesting with the GPU. If you are using plug-ins that use Direct 2D or Direct3D, you are probably better off disabling Aero.

Launch Party, After All?

Thanks, Noel. So, the big news behind all of this is that a move from XP to Windows 7 is finally advisable.

I would still caution, as I did recently with Mac OS Snow Leopard, that you typically don’t want to upgrade to a new OS the day it launches. You’ll want to verify compatibility with your software and hardware before making the jump.

That said, this is an unusual upgrade in that it appears to resolve more issues than it introduces. I actually haven’t been able to find a single user out there testing Windows 7 who has found any issues with audio or music production. Of course, when it launches, we’ll have a much larger test base, so I expect we’ll find something – even Windows Service Packs and point releases of Mac OS have been known to create some issues. As we get closer to launch, I’ll review how you would backup your existing XP or Vista system to ensure that if you do choose to upgrade, you can revert to a previous version.

I am, however, cautiously optimistic. And now is an especially good time to make the jump to 64-bit. It’s easier on Windows than any other OS at the moment, and easiest in SONAR, because SONAR allows you to easily migrate 32-bit plug-ins into the 64-bit environment. You’ll need a 64-bit machine and enough memory to make 64-bit worthwhile, but if you’re building a new workstation, as Noel is, the timing could be perfect.

I also think there’s plenty of room left to talk about issues that go between operating systems, particularly how audio software can better support multi-threading and processing on the GPU, multi-touch, as well as emerging I/O standards like USB3. (OpenCL, much-touted in Snow Leopard, is also supported on Linux and Windows, and Linux actually beat both Mac OS and Windows to the punch in providing a first implementation of USB3.) Correction: I should also add that the excellent Reaper has also added this feature. With full 64-bit support in Cakewalk’s own Dimension and other instruments, NI’s Kontakt sampler, and the bundled 64-bit-native plug-ins in Reaper and SONAR, that means you can build a really capable 64-bit rig on Windows.

With fixes getting the OS out of your way, we can return to issues that really matter, many of which apply to every OS.

Music is, as always, the perfect place to talk about these issues. We push our machines harder than just about anyone, and in ways that are the least tolerant of timing discrepencies and glitches. I’ve said it before, and I’ll say it again: if you want to look into the future of computing, ask a musician.

And that calls for a party.

Previous coverage:

SONAR 8.5 and how it can smooth the transition to 64-bit (8.5 is the build that includes Windows 7-specific improvements)

Vista Tweak: Use the Audio Profile Cakewalk’s CTO Uses

Optimizing for Vista: Inside the Mechanics of SONAR 8 with Cakewalk Engineering

Adieu, XP; How Vista SP1 is Doing, and Why This OS Generation Has Been So Tough

Vista for Audio, 1 Year Later: Talking OS Plumbing with Cakewalk’s CTO

Vista for Music + Pro Audio: Exclusive Under the Hood with Cakewalk’s CTO

And yes, I think Noel deserves an Honorary Contributing Editor position for all he’s done giving us absurdly-precise inside details for how Windows works.

Microsoft product screen shot(s) reprinted with permission from Microsoft Corporation.

It’s been one of the few constants in music technology. To use Pro Tools software, you need Pro Tools hardware – that means M-Audio interfaces for M-Powered (and now Essentials) and Digidesign interfaces for LE and HD. Without M-Audio or Digidesign hardware actively plugged in, the software refuses to run. And there’s no way for a third party to get their audio hardware working with the software.

Or so everyone thought. Without the cooperation of Avid, Mackie says they have managed to get their Onyx-i mixer line working with Pro Tools, and they’ll even “certify” compatibility. At the end of July, a number of audio sites (including Mix and Sonic State, but not CDM) received a package with one of Mackie’s new mixers, a video, and a copy of Pro Tools M-Powered. The message: a “secret” driver provided compatibility between Mackie’s mixer-audio interface package and Pro Tools. (See Sonic State’s writeup.)

So, what’s going on?

Onyx-i – What’s “i”mproved

Before I get into that, first, a word about Mackie’s new Onyx-i mixers. Viral videos aside, I already know many CDM readers don’t actually like Pro Tools, and the Onyx-i has plenty of other features to recommend it. The original Onyx was already an interesting solution, with the potential to combine a full-blown Mackie mixer with a FireWire audio interface. But the hardware was bulky, and adding FireWire support required buying and installing a separate add-in card.

The Onyx-i solves both problems. The entry-level Onyx 820i model adds a compact, inexpensive (street just US$500) 8-channel by 2-channel output option. Also, all of the new Onyx line (up to the 16×16 1640i) have FireWire built-in – no expansion needed. The line still has a rather hefty bulge that sits below the mixers, but at least with the addition of the 820i, there’s an option I could imagine throwing in a backpack. (That’s good news, I think there are more scenarios where you might want simple mixing than need to lug around a 16×16 mixer-interface.) The cheaper Onyx-i models are also competition for the Cakewalk VS-100 I reviewed recently. The Onyx lacks the VS control surface, flash recorder, and the Cakewalk software bundle, but if you were more interested in the mixer to begin with, the Onyx series could be worth a look.

At the high end, the 1640i can stream full 16 x 16 audio channels in and out of your DAW.

The Onyx also makes “universal” compatibility a selling point, and that’s where this Pro Tools saga comes in. The Onyx-i is “qualified for use with all major DAWs,” including Logic, SONAR, Cubase, Ableton Live, and … Pro Tools M-Powered 8. Of course, the last entry was assumed to be technically impossible, and Avid has, to my knowledge, never been compatible with any hardware other than their own. (The only exception I can recall is the brief availability of something called Pro Tools FREE, which worked with standard audio drivers and cost nothing, though it had a number of other limitations.)

Mackie’s announcement came with this disclaimer:

The Onyx-i Series Mixers are qualified by Mackie for use with Pro Tools® M-Powered™ 8. Mackie will release a driver (via www.mackie.com) together with full details of how to use the Onyx-i series with Pro Tools® M-Powered™ 8 in the coming weeks.

Avid has declined to comment for the time being on the Onyx-i compatibility claim, though they at least confirmed that they were not involved.

Shaunna Thompson of Mackie emphasized to CDM that there was “no reverse engineering” involved in creating the Onyx-i driver for Pro Tools M-Powered, and that they were “in discussions” with Avid but could not comment further on those discussions or how Avid would respond.

Conventional wisdom about Avid and Pro Tools has been that hardware “lock-in” – the reliance on their hardware – is good for their business. That may well be, and I do believe in hardware choice; it’s part of why Pro Tools hasn’t ever been my main DAW. I do have to point out, though, that every other audio software maker, from big developers to people maintaining open source software, will tell you compatibility is a huge pain. Massive amounts of time get spent on testing and compatibility, particularly when you start combining different operating systems and different combinations of hardware and drivers. So there’s no question that the other thing Avid has been able to do is to reduce some of that complexity, some of the additional sources of support problems, and all the costs associated with both.

But that made me all the more curious about just how the Onyx-i support works.

Q&A with Mackie

CDM: Can you comment on the inclusion of Pro Tools M-Powered?

Mackie: The “Ransom Packages” that were sent out as part of a viral campaign included a copy of Pro Tools^® M -Powered^™ 8. However, the mixers do not come with a copy of Pro Tools; users will need to purchase this separately.

CDM: I’m sure you can’t talk about all the details, but is there anything you can say about how the M-Powered support was reverse-engineered?

Mackie: Mackie did not ‘reverse engineer’ support for Pro Tools M-Powered 8. We created a custom universal driver that enables use with all major DAWs including Pro Tools^® M -Powered^™ 8.

CDM: For that matter, at the risk of asking the obvious, why would Mackie want to support Pro Tools given support for other hosts and your own DAW (Tracktion)?

Mackie: The Onyx-i Series interfaces with all major DAW’s including Pro Tools^® M -Powered^™ 8 and our very own Tracktion Software. Our customers have been telling us for years that they want a mixer that can interface with Pro Tools^® – we are simply giving our customers what they want. 

CDM: Aside from the Pro Tools questions, I’m a little unclear – what’s new in the "-i" versus the original Onyx predecessors?

Mackie: The biggest difference is that the Onyx-i Series has deep FireWire integration. Now you don’t have to buy a separate FireWire card because it’s already built into the mixer offering a significant increase in performance and value over the older Onyx Compact Series. This effectively means you get a premium analog mixer AND an ultra-high quality digital interface. These are the tools you need for serious computer recording.

Every channel on the mixers can be routed pre- or post- EQ to the computer, allowing the user to choose whether to implement EQ to tape or not. Returns from you computer can be routed back through the channel strip for integration into the mix or for mastering the Perkins EQ.

So, Does it Matter?

It seems that if this had happened a few years ago, it might have been explosive news, which is not the sense I got with Mackie’s attempt to “go viral” with that guy, his little dog, and his pantyhose mask. Then again, I’d better not speak too soon, lest I wind up with 100 comments on this post…

For many users, people who want hardware choice may already have found DAWs with which they’re happy. Pro Tools has its loyal users, and people make great music with it – it just happens that the same can be said of Ableton Live, Apple Logic, Reaper, and many others (just in descending order of recent reader interest on this site). And, of course, Mackie also makes their own Tracktion. Mackie actually risks overshadowing the other news here – the ability to buy a single piece of gear that’s both a Mackie mixer and a FireWire audio interface for under $500.

On the other hand, it’d be a fairly significant acheivement to release this driver, and perhaps even to get Avid’s support. And while I had to ask the question above, of course, Mackie wouldn’t do this if they weren’t getting customers bugging them for it. That’s why interoperability ultimately matters: users want certain choices, and (perhaps rightfully) don’t understand why they might be denied those choices.

I’m going to place the burden on Avid on this one, for one reason: Avid claims “interoperability” is one of their new corporate goals. It’s never been entirely clear what they mean. Some of that goal seems to have more to do with interoperability between products in their own product line. (In fairness, that seems a logical place to start!) So I hope whenever Avid and Mackie do finish their discussions, whatever Avid’s decision, we get clear communication for exactly what the “new” Avid’s interoperability goals are. If they feel they have a case for not supporting hardware like Mackie’s, that’s their prerogative. I’d just like to see clear communication from either company, to explain to their user base why they make those choices.

And, of course, I don’t expect that communication from either Mackie or Avid will come from anyone wearing a mask and a disguised voice.

I’ll be watching for the outcome of the discussions between these two industry giants. Stay tuned.

As you no doubt heard, Apple today refreshed their MacBook lineup with across-the-board adjustments to pricing. I’ll let other sites comment on the news more generally, as this is a music site, not a notebook site. But the big news for audio in terms of I/O, just so you don’t miss that:

• FireWire on more models: Finally, you can again get a 13” MacBook (now called MacBook Pro) with onboard FireWire – a FW800 connector. That’ll restore the use of audio interfaces and certain high-speed storage, and means the MacBook is again a good choice as an audio machine at the US$1199 base price point.
• ExpressCard on fewer models: Oddly, the addition of a lowly SD card slot (nice for photography and mobile recorders) has supplanted the ExpressCard slot on the 15” MacBook Pro. If you want ExpressCard, you have to buy the 17” – which, in turn, loses the SD card slot.

Now, generally the news here is pretty good. For music, you probably aren’t too concerned about the GPU, so the 15” MacBook Pro at US$1699 is looking like a nice deal. But PC users are no doubt puzzled, given that all of these connections are standard equipment on the vast majority of PC notebooks, including ones that cost less than a grand. And there still aren’t as many USB ports as you’d like – you get two ports on all but the 17” model, which has three, and very often only one of those may actually be usable because of power issues.

MacBook Pro [Apple]

The battery life is also greatly improved, but unfortunately is no longer user-upgradeable. See further comments on CDMotion.

Apogee Electronics has just announced they’ve dropped support development for Windows. Now, that’s their prerogative – not least because customers who prefer using Windows can simply choose to buy their competitors’ products. But in a press release entitled “Apogee Discontinues Windows Support,” “Apogee Discontinues Windows Development,” Apogee decides to tell you why, if you’re using Windows, you’re using an inferior platform.

Correction: Apogee just sent an updated press release.

ATTENTION ALL RECIPIENTS: Correction to Apogee’s most recent press release titled “Apogee Discontinues Windows Support”.

IMMEDIATE: Please revise headline to read “Apogee Discontinues Windows Development”

Guess Apogee is either reading CDM, or they just got some email about that subject header. And yes, dropping development of new products is not the same as dropping support for old ones, so this makes more sense (though the arguments I’m making about the tradeoffs between supporting platforms still apply).

Apogee Electronics will no longer develop products for the Microsoft Windows platform. Apogee has made this decision in order to focus all research, development, and support resources on the Apple platform with its unparalleled power and stability. Apple offers a wide range of affordable, powerful desktop and laptop solutions ideally suited for music creation and audio production.

This comes as no surprise, as Apogee’s interface line has already focused on the Mac. And, honestly, maybe that’s a good thing; the added focus could benefit Apogee as a small, boutique vendor.

More helpful advice if you are using Windows:

Windows users can obtain the Apogee sound by connecting Apogee converters to their Windows-compatible audio interface via AES, optical, or S/PDIF. Apogee technical support will continue to support legacy Windows configurations installed on Windows XP Service Pack 2.

Well, of course, that’s correct: if you’re just using Apogee for their converters, you can connect to Linux or FreeBSD or an Amiga or whatever you like, provided the audio interface itself has digital ins and drivers on your OS of choice.

Now, don’t get me wrong, I think Apogee is free to do what they want. It also doesn’t speak well for Windows – it’s a vote against Windows as a platform and the costs of developing for and supporting it. But locking yourself to one platform has dangers, too. Apogee invested a lot of time and resources into supporting their Duet FireWire interface, only to see Apple drop FireWire from their non-Pro MacBook line.

Anecdotally and statistically (in surveys and server logs), we see about 40-50% of you using Windows. So, whatever Apogee’s opinion of the Mac platform’s merits, I don’t see this as making that market any less relevant. In fact, I expect the handful of vendors paying attention to Linux, too, could have an edge as platforms evolve over the coming years. Apogee may be better off focusing on the Mac, but that leaves some opportunities for those vendors supporting PCs.

Now for US$999:

• NVIDIA 9400M graphics (meaning this is mainly a story for visualists, so see our take on Create Digital Motion – but the rest of you can more easily enjoy World of Warcraft, if so inclined)
• Newer Core 2 Duo, still 2.0 GHz but now with a faster 1066 MHz frontside bus for a marginal performance improvement
• 2 GB instead of the ridiculous 1 GB RAM, meaning you don’t necessarily have to buy a RAM upgrade to use it
• Bluetooth 2.1

More important is what didn’t change: it still has FireWire. And it’s still the cheapest new mobile Mac you can buy. It also still has the older-style Mini-DVI video connector, but it does not support the old adapters or TV out.

If you’re looking to run Windows or cross-platform software, of course, the PCs in the same price range remain competitive. But then, if you want Mac OS, Logic, and various Mac-only tools, that isn’t really an option, is it?

Let’s start with the important bit: the Traveler really is a mobile interface. It weighs under four pounds and fits into a backpack; it’s actually a little lighter and more compact than a typical 15” laptop. Now, if your input and output needs are limited (a mic in, headphone out, and stereo out do suit a lot of folks just fine), your options are obviously many. But the Traveler manages to be this small and pack an absurd amount of I/O and functionality into that small space.

Audio interfaces tend not to get a whole lot of updates, but MOTU has been steadily upgrading the Traveler. New in mk3:

• Digital I/O expanded for a total of 28 simultaneous ins and 30 outs (including digital I/O), on top of the (existing) four XLR/TRS mic ins. Digital up to 96kHz and analog up to 192kHz – all eight.
• True high-impedance guitar ins
• Hardware limiter on the pre, plus a “soft clip” feature that “engages just before clipping occurs and helps reduce perceptible distortion.” (That’s “soft” as in the clip prevention – the process takes place in hardware. I inaccurately described this as being similar to a compressor; it’s not – it’s a different process, and combined with hardware limiting makes this ideal for live mic input.)
• 1 dB trim increments on all analog ins
• MIDI Time Code support
• Optical I/O: choose 16 channels ADAT, 8 channels of SMUX, or two pairs of TOSLink, or mix and match
• New software: CueMix FX software, which turns the Traveler into a mixer with compression, a modeled version of the Teletronix optical leveling amp, and real-time signal analysis
• … and you can access these features from the front panel

… just to name a few improvements. And lest you think FireWire is dead, have a good look at the Traveler. The whole package is powered by the FireWire bus, or you can add a field battery pack. On the Mac side, this is yet another reason not to get a non-Pro MacBook.

New CueMix FX software, which is also available for MOTU’s other interfaces.

A lot of these features are nice, but to my mind, the major draw is still that you get a ton of I/O in a nice, mobile box, now with four mic ins. For anyone doing surround, you also get front-panel monitoring controls, and enough actual outs to pull off various surround setups, with different setups nicely supported in the software. On Mac and Windows, you get full ASIO, WDM, Core Audio, and Core MIDI support. (Linux has been maturing as far as FireWire audio support, though I don’t know off-hand how this will do.)

MOTU isn’t shipping the new Traveler until Q1, but they promise the same pricing as the current model, which has a street around US$850.

MOTU Traveler mk 3 [Product page, which goes into some of the rather lovely effects in there]

If you own another MOTU unit, you’ll be relieved to know the CueMix software features will be available for download on other FireWire audio interfaces.

Bet this would look fantastic as a pillow, too.

Tim Hanlon of gizmag.com recently got an IdeaPad S10 – Lenovo’s lovely, $400 “netbook” – to test. He didn’t just do the usual benchmarks, though. His review also included the unlikely choice of Ableton Live and, thanks to a free ExpressCard slot, a MOTU Traveler FireWire interface.

The inclusion of an ExpressCard/34 slot opens the IdeaPad up to a range of high-bandwidth applications. The most relevant for me as a musician was the possibility of using one on stage alongside a professional audio interface. Taking your expensive (and for some, irreplaceable) main rig out on tour and having to constantly keep an eye out for people putting their beer down on the stage next to it is a stressful affair, and the thought of using a relatively cheap, incredibly portable, and ultimately replaceable machine instead was always incredibly attractive – and I’m very glad to say, now possible.

We used a Silicon Memory ExpressCard/34 adapter that added an additional USB 2.0 port and two FireWire 400 ports, although any adapter based on a Texas Instruments FireWire chipset should work with a vast majority with audio interfaces. Windows XP Home recognized the adapter and installed the drivers automatically without needing a driver CD, and we quickly had the MOTU Traveler interface up and running.

My current Ableton Live set sat at a perfectly manageable 15% CPU usage for a majority of the time, however you will need to watch the CPU intensive plugs. One particularly long reverb tail using Ableton’s built-in reverb used up 25% of the CPU on its own.

Check out the full story on Gizmag:

Lenovo’s IdeaPad S10 Reviewed

One major catch, before you get too excited: Tim has the same problem I have universally with these ExpressCards. They just stick our awkwardly. They’re even worse on the full-sized slots on bigger laptops. Chancing an audio interface popping out while playing pretty much kill the appeal for me, especially when there are plenty of workable USB2 audio interfaces out there (including from MOTU). MacBook, you’re not off the hook yet, because this just means I want more USB slots, but I digress.

The bigger message here to me: software developers ought to pick up a couple of these machines and think about what will run on them. With zillions of these netbooks now shipping, why not? They’re not going to replace even standard laptops, but it’s an opportunity to sell more software by targeting these boxes, or even testing lighter-weight software on them. (Imagine notation or quick drum machines.) I don’t really miss the days when we ran Ableton Live on 400MHz G3s, but, well, we did.

And Tim has a point: next time you’re playing a frightening club with chicken wire and angry drunks, here’s your machine! Actually, that S10 is cute. Maybe just bring a tarp and some tazers.

Speaking of Rain Recording, Rain is about the only vendor I’ve found that offers a 2-port FireWire ExpressCard known to work well with audio interfaces. Now, your mileage may vary depending on the chipset in your laptop, but based on what I’ve been hearing, this looks like a good option. I’ve also seen a cheap (US$30) card floating around some random Internet vendors; it’s so cheap, I’m probably going to buy one just to see if it works. I’ll report back.

2 Port FireWire Express Card (formerly ADS Tech PYRO1394a) [Rain Recording]

I get nothing out of this, for the record; Rain actually hopes you’ll get this card with one of their laptops, but I’m just as curious to hear how it works on other machines. Of course, this would be a nice add-on not only for PCs, but also potentially for MacBook Pro users wanting dedicated FW400 ports and the TI controller – theoretically, at least. Let us know what happens if you take the plunge.

If you’ve had experience with different chipsets and ExpressCard slots on Mac or PC, we’d love to hear it. And I hope to offer my own tests soon.

Updated: The StarTech EC13942 also shares the TI chipset and is available from a number of vendors if that’s a vendor you prefer. It’s the only one endorsed by PreSonus aside from this former ADS Tech card that Rain sells — and may give you better results with other, non-PreSonus hardware, based on reports I’ve read. See PreSonus’ official word on the matter:

Presonus Hardware Compatibility: Approved Chipsets [PDF]

As I’ve noted, unlike the new MacBook, the MacBook Pro revision retains FireWire, in the form of a FireWire 800 port. This does represent a switch to an NVIDIA chipset, so there may be new performance wrinkles with some interfaces. But it’s not the FW800 port per se you have to worry about. It gives you one less physical connector (previous MBPs had both a FW800 and FW400 port), but even the earlier models had just one bus for FireWire, shared between those two ports. There is a little bit of inconvenience there in that you need an adapter cable and have one less port free, but it’s much less of the deal-breaker the MacBook’s lack of FireWire or expansion is.

MOTU had already published a support note out about supporting FW800 ports — executive summary: don’t worry about it. Now Apogee, makers of the Mac-only Duet, weigh in:

Connection between a “late-2008″ MacBook Pro and Ensemble or Duet is made with a commonly available FW800 to FW400 adaptor or cable. The connection of Ensemble or Duet to a FW800 port is fully supported and in no way alters the performance of the interface.

Ensemble and Duet Compatible with New MacBook Pro [Apogee Digital]

Via MacMusic; thanks to USO Project

It should have been another home run for Apple today. The new MacBooks and MacBook Pros look like absolutely gorgeous, brilliantly-engineered, environmentally-friendly machines. And for many, the fact they run Mac OS is all you need to know. I really do look forward to seeing one of these machines in person. But in case you haven’t caught on, a lot of people aren’t exactly overjoyed. The loudest complaints: creating digital music and creating digital motion (ahem) are crippled by the lack of FireWire on the MacBook, a format Apple once championed.

Generally, Apple remade their entire line in the image of the MacBook Air: form over function, with design, beauty, and manufacturing excellence, even multi-touch gestures, but without a clear story on value and features. They removed key connectivity (FireWire, particularly on the MacBook) with nothing new to replace it. Talk about putting aesthetics first: some have speculated the FireWire port was removed on the MacBook because it would have necessitated making the case slightly thicker. They added a new connector for video without supporting some standards ordinary people want for video output. Instead of price breaks, they protected their price points, even edging up the mid-range MacBook by $100, which upset some folks – especially since there wasn’t as strong a left-brain rationale for the new models. Perhaps it’s partly the fault of how beautiful the machines are: they shine so brightly, it’s hard for the spec sheet — even the strongest parts of it — to hold up in the glare. (Or maybe that’s the non-optional gloss screen.)

Now, under the right conditions, that could have been a huge hit, except the people who care most about aesthetics already own the MacBook Air — and we’re currently in a global economic slump that’s arguably worse, statistically speaking, than anything that’s happened since Apple was founded. Apple’s case was to get people to make a sacrifice for luxury, right when they want to do just the opposite.

Where were these sentiments at their worst? As it happens, among the creative pros who are Apple’s most cherished users, and some of the press specialists who had been their strongest cheerleaders. That one little matter of the FireWire port turns out to be at the heart of the matter. Read through users’ complaints, and you hear some specifics about why FireWire isn’t ready to go the way of the floppy just yet:

• Eugenia’s Rants and Thoughts links various complaints, and points out you can “just buy a DELL Vostro 1310 with Sony Vegas Platinum 9, which is more feature-complete than the older Macbook (more RAM, hard drive, ports) at the same price” as the newly-crippled MacBook.
• Even though he likes the new features, Adam Tow notes that on the MacBook, “I wouldn’t be able to import footage from my video camera nor can I get super-fast downloads from my Compact Flash cards using my SanDisk Extreme IV card reader.” And he points out you can only get a glossy screen.
• IMJEFFP calls it the “$700 FireWire port” and notes the new model wouldn’t allow him to use a camera he uses for planetary photography.

Some in the press are turning on Apple entirely – and it could be the sign of more dissent to come:

• The Guardian says the new models “fail to excite” in the headline, and goes on to blame missteps in the announcement for poor stock performance. (A stretch, I think given the volatility of the market, but it shows how bad the spin is today for Apple.)
• Newsweek’s Daniel Lyons “sours” on Apple entirely and explains “Why the company’s laptops aren’t worth the hype.” His main complaint: Apple keeps dragging journos to these live events only to deliver incremental changes.

… just to cite two examples. Whether that’s fair or not, Apple obviously didn’t get the press they wanted. I think at some point, you have to let the press get excited on their own. Push too hard, and they get cranky.

So Are the Skeptics Right?

A lot of PC partisans I know claim Apple gets a free pass. I think they’re unaware just how high the expectations of Apple’s most passionate enthusiasts can be. And I think, frankly, the press can set the bar absurdly high, like wanting major laptop innovation every eight months. Apple made that worse by over-hyping this event at the worst possible time.

There’s plenty to like about Apple’s new machines. There are significant architectural improvements, so it will be interesting to see benchmarks. And they look beautiful. The trackpad gestures sound interesting.

But here are the problems:

Removing FireWire ports is a downgrade, no matter how you look at it. Removing the floppy disk on the iMac turned out to be an upgrade. But remember, the iMac added fast Ethernet and USB ports at a time when those features were often optional. The new MacBooks don’t give you anything, connectivity-wise, in exchange for the FireWire you lose. On the non-Pro, that impact is the worst. HDV prosumer cameras still hold up to AVCHD options, and lots of devices only capture footage, play and record back tapes, and capture live video via FireWire. Musicians rely heavily on FireWire drives and (most importantly) FireWire audio interfaces. On the Pro, they now need FW800 adapters and lose a port. On the non-Pro, they’re completely out of luck.

Imagine how audio maker Apogee may feel. They made their Duet audio interface Mac-only and co-promoted it with Apple, touting exclusive integration with Logic Studio. Now it doesn’t even work with half of Apple’s new laptops, because it’s FireWire only. (No word yet on whether they’re ready with USB, but my guess it they may be hearing about this at the same time the rest of us are.

FireWire isn’t perfect; don’t get me wrong. FW400 offers limited advantages over USB2, and it’s possible to damage some components by hot-swapping a live capble. But then, why not put the FW800 port on Apple’s entry level MacBook, especially since there are still reasons (bigger screen, better GPU, faster specs) to upgrade to Pro? Or why not replace FW400 with eSATA? Or use a 4-pin FireWire port if the case has to be slimmer? Or wait until USB3 is available? Or even give us another USB port? Or at least not constantly keep telling us how you’re always right? Anything would ease the pain.

The integrated video doesn’t sound fully-baked yet. The NVIDIA 9400m will be a big upgrade from the MacBook’s previous integrated graphics. But you can find PCs with beefier graphics cards in them at the MacBook’s price point (especially at US$1600). Worse, if you want to take advantage of its battery-saving feature, you have to stop your work, log out, log in, and reload everything you were doing to switch modes. Windows Vista supports seamless switching on at least some models of the 9400m. Apple may soon, but that’s another demerit at launch.

We’re also still waiting to hear about whether we’ll be able to add connectors for HDMI, S-Video, and Composite TV out. All can theoretically be supported on Apple’s DisplayPort, but only if drivers cooperate. The fact Apple isn’t offering accessories for these formats? Very bad sign. (Updated: Note that that’s not even a standard DisplayPort. Apple is piping standard signal through a proprietary connection that’s not part of the spec. Uh… thanks?)

Apple has to stop acting like no one else exists. Here’s my other beef: aside from the superior aesthetics, Apple overstates what is uniquely theirs. For instance, the whole laptop industry is moving from underpowered integrated graphics on laptops to new, hybrid integrated/discrete graphics chips from ATI and NVIDIA; that’s not just Apple. Now that so many Mac users are dual-platform or switchers, press included, Apple may have to more clearly differentiate what makes them special, and what is PC-wide. There’s really no sin in being clear on that; I think people will respond more positively. And quit with the Vista swipes; that ship has sailed.

Waiting could be a good option. Bottom line? I think what happened is Apple did innovate on form, and function wasn’t quite ready. More video cameras may indeed go the USB route — but it hasn’t happened yet. Intel has some big performance improvements in store — but they’re not here yet. NVIDIA’s hybrid platform looks promising — but the payoff isn’t there just yet, and it sounds like Apple may not even be done with the drivers yet.

And most of all, I think the mood of the world right now is that we’ll buy new tech when it’s ready for us, when we don’t have to throw out gear we care about just to make the case a little thinner, and when we can pay in cash. Not too many people are excited about credit card debt in the moment. If this industry is in it for the long haul, maybe that’s a good thing.

We now return to our regularly scheduled, Theremin-filled music tech news.