Quick: you’ve got to sell UMPC (Ultra Mobile PC’s) to a mass market! How to do it? Well, Intel decided to show off pro audio and music production on the Linux-based Transmission, from Trinity Audio, as we saw earlier this week. I’m not entirely sure what got Intel thinking our geeky way, but I’m going to enjoy it while it lasts. And in all seriousness, Linux really an ideal OS choice here, because of its ability to be customized to the application.

The other flipside: low-power is the future. Computers now suck up 15% of the electricity in the US — electricity that produces a lot of our pollution and greenhouse gases. You do the math. A lot of that power gets used up in data centers, but the aggregate of all those homes counts, too. That will impact the future of all end-user operating systems.

Trinity has sent us some photos of the Intel booth at CES. Yes, Linux audio is getting some wider exposure. And even if you’re attached to Mac or Windows as your desktop/laptop platform, a mobile Linux device could be an ideal companion in the near future. We’ll have a chance to look at Trinity’s own device next week at NAMM and see how it stacks up.

Open-source music and audio is finally delivering the goods: useful and unique tools that make sense even alongside commercial/proprietary software. And as a sign that the mainstream could get a taste of these tools soon, Intel is exhibiting at the massive Las Vegas CES consumer electronics show with Transmission, says Trinity Audio’s Ronald Stewart.

Transmission is Trinity Audio’s open source software bundle and live Linux distribution. It’s built for Trinity’s Linux-powered Trinity mobile studio device, which we’ll be seeing more of soon. At CES, it’s running at the Intel booth on the Samsung Q1 Ultra Ultra Mobile PC (UMPC). (The advantage of the Trinity over the UMPC for audio folks: XLR jacks, among other things.) But you can also run this free software on your PC — try the live CD link below. Haven’t tried it on Intel Mac yet, but that should work, too, theoretically.

Audacity [the open-source waveform editor]

Burn is a cd burn app

DJ is IDJ for live podcasting ( i love this with a mic)

Drum is Hydrogen [the simple but fun software drum machine]

Mixer is the Gnome ALSA mixer [for mixing virtual channels of audio on your system -- something not nearly as functional on Mac or Windows]

Mixxx 1.6 beta (rips with the touch screen grabbing the tracks and faders)

Record is Ardourino (Ardour is so awesome) [the open-source DAW]

Sequencer is Qtractor (another great app)

Synth is amsynth

Upload is an ftp app [so you can upload your tracks]

Zynaddsubfx is another great synth

For more description and links to the individual tools — an excellent selection of the creme de la creme on Linux — check the Transmission site. (warning: auto-plays audio!)

Transmission

But no need to have a UMPC or Trinity device to give this a spin. This live CD will do the trick. For Mac users, it even includes the native (non-Linux) Ardour for Mac, an excellent free and open source DAW for Mac users.

Trinity Live Master CD

Even as someone dedicated to proprietary software I really can’t live without (hello, Ableton!), I think there’s huge potential in using these applications for specific applications (like mobile devices), for collaboration, and file exchange. If we were really lucky, some of those major developers would start to build in support for, say, Ardour’s file format. But that’s the subject of another story.

Below: the Trinity mobile device getting celebrity treatment.

Apple’s GarageBand 08, unveiled today, focuses on addressing two major areas: for beginners, making entry into the program easier, and for experienced users, fixing some holes in previous versions. Despite its user-friendly interface and the fact that it comes free with new Apple computers, many average Mac users just didn’t dig into previous versions of this music creation tool. A new “Magic GarageBand” mode is clearly aimed at getting better saturation of this tool. The remaining features, while not necessarily earth-shaking, appear to seek to make GarageBand more well-rounded for music making by inheriting tools from Soundtrack Pro (multi-take editing, visual EQ), and fixing existing complaints (automation).

This is just a preview of what’s new, not a review. I’m curious to hear what you think, though, because it seems these two directions are very different, and sum up the challenge “beginner” programs face — who, exactly, is a beginner, and what do they want? GarageBand 08 represents very different ends of the spectrum, as you’ll see.

Here’s what Apple says is new (actual hands-on with the program still to come):

Magic GarageBand: (That’s really what it’s called.) Select a genre, and GarageBand will walk you through adding an ensemble of virtual instruments. The eye candy is slick, and this should definitely take away any excuse a total newcomer might have for not getting into music making right away. But do you really need a wizard to tell you what should go in a country ensemble? (What’s that thing called? That thing you bang on? With sticks? Oh, yeah, drums! Now what about that other thing … that thing that’s like a board. A board covered with keys.)

If you’ve been on the search for a simple, straightforward audio editor for Mac and Windows, Adobe has officially thrown its hat into the ring with Soundbooth CS3.

Soundbooth Now Shipping [Hart's Audition, from the Adobe audio product chief]
New Soundbooth User-to-User Forum

Of course, to the rest of the world, the big news is that Adobe’s full Production Premium and Master Collection suites are shipping. But Soundbooth is one program that could make sense to buy alone, as a basic audio editor. It sets itself apart both by being cross-platform and by being geared for beginners and people wanting a simple, streamlined tool. And the killer feature: there’s a lasso tool you can use directly on the audio spectrum. I’ve been using that to isolate sounds in field recordings that would otherwise be impossible to grab.

I hope to have an in-depth look at the finished tool soon, so no conclusions about the shipping software yet, but in the meantime, see our preview from the beta.

Ha, dual core? How last year can you get? It’s all about eight-core now, baby:

The Pro Tools HD 7.3.1 cs3 update can be installed over Pro Tools HD 7.3 or Pro Tools HD 7.3.1, and includes all updates that were previously made available in the 7.3.1, 7.3.1cs1 and 7.3.1cs2 releases. Pro Tools HD 7.3.1 cs3 is currently available as a free download for registered Pro Tools HD 7.3 users. For details visit the Digidesign support web page at: www.digidesign.com/support.

Given that Digidesign built their business on taking processing off the CPU and onto dedicated DSP hardware, it is pretty funny that they’re now pushing native processing — even if Pro Tools itself still benefits from enhanced computing power. That said, is there really anything stopping Digi from going native somewhere down the road? (Speaking of which, where’s the LE support, which would actually run native on these cores?) Either way, it’s nice to see Digi being aggressive in this space. Fully supporting additional cores does actually require some effort on the part of the developer. It’ll be interesting to see if all these extra cores can really benefit real-world situations. In the meantime, I find even a lower-end dual-core Intel chip — even on a laptop — to be plenty luxurious for music production, which is really good news for mobile music creation or going digital on a budget.

For all the talk of Apple needing to create a Pro Tools killer, though, this should remind you again that Apple wins either way. Even as Windows has made inroads in the audio market, Pro Tools users still lean Mac. Want Logic? Apple will sell you a computer. Want Pro Tools? Apple will sell you a computer. Want Ableton Live? Max/MSP? Ardour? Live coding in ChucK? Apple will … you get the idea. Plenty of PC musicians out there (I’m one of them, about half of the time), but Apple has a lucrative market in music creation. Nice to reflect on that, given at one point the company was in such trouble it looked like music might get jettisoned altogether. Apple can remain cozy with Avid, even as direct competitors.

Macworld, naturally, spends a lot of time focused intently on Apple hardware while I get distracted by beatboxing parrots and modular synthesizers built out of yarn and rubber bands. They have an excellent write-up of the significance of the MacBook Pro Santa Rosa upgrades, with comments on their benchmarks of the equivalent refreshed MacBooks:

MacBook Pro knows the way to Santa Rosa

One thing I was a little unclear on in my previous story is what matters in Santa Rosa, Intel’s latest architecture platform. (They didn’t call it Core 3 Duo, but then, consistent branding and Intel don’t generally go together.) As with Core 2 Duo over Core Duo, we’re getting incremental performance enhancements relative to the previous generation. Each step is relatively small, but they start to add up — hence, Apple quotes 50% gains over the original Core Duo. (And that’s why they dumped PowerPC, which in the mobile space was starting to practically paddle backwards.)

The key differences as far as raw performance: faster front-side bus (800MHz instead of 667), which for audio is a big deal, faster clock speeds on the models themselves at the same price, and fast RAM, plus a faster GPU for GPU-related tasks. (And, um, any day now we’ll start to see audio on the GPU — it’s tough to program, and GPUs are only now becoming the norm, and CPU cycles are getting cheaper, but it will happen.)

Also, none of this was meant to say “eBay your MacBook Pro.” PowerBook G4, maybe, but the first-gen MacBook Pro is still a terrific audio machine, with a GPU that’s no slouch. My main laptop right now is a first-gen MacBook (no Pro), and it blazes through everything I throw at it.

Apple has unveiled its revised MacBook Pros today, with some subtle but significant improvements. I spoke to Apple a few minutes ago to get some of the details on what’s new.

The new MacBook Pro includes new, faster CPUs and the Santa Rosa Intel architecture refresh to the Core 2 Duo, delivering 2.2GHz and 2.4GHz brains and 4MB L2 cache. That should translate to a marginal but very measurable performance improvement, without having to spend a penny today over what you did yesterday. Santa Rosa also allows memory expansion to 4GB, huge news for anyone working extensively with sample libraries. There are also improved displays with LED backlighting and the addition of the NVIDIA GeForce 8600M GT GPU, basically a generation ahead the ATI X1600 in the original MBP (itself a very respectable card). We’ve got more on the visual side of the equation on Create Digital Motion, basically because I’m rapidly developing GPU lust.

What does this mean for music? Not the earth-shaking shift from G4 to Core Duo, but still some very good news. Think faster performance in audio apps, more memory for samples, and better displays and graphics. I know plenty of people on the fence on the MacBook Pro. Apple has the latest and greatest from Intel at roughly the same time as their PC-only competitors, so this should mean you can make an educated purchase decision today. And yeah, this might be my first choice even when I have to run Windows. (Come on, sometimes you need to make some beats in FL Studio or do your accounting.)

Let the spectral madness begin, all speedy and Intel-y on your MacBook: VOKATOR and SPEKTRAL DELAY are finally here, rounding out NI’s Intel-native lineup and gathering the last of the stragglers onto Apple’s faster new machines. Vokator 1.2 and Spektral Delay 1.6 each add Intel-native support for Macs. That’s it; there’s nothing else here for you. Windows users, move along. (Too bad, as it would have been nice to get some little present in the update. New presets, maybe? Anything?)

Nonetheless, these are two of my favorite processing plug-ins, and having them ready for Intel Macs is truly a great thing. Expect to see me vocoding my voice at the next gig.

Cost: US$29 / EUR 25 upgrade, or free for owners of the individual plug-in or Komplete who registered after 9/12/06.

Spektral Delay Universal Binary
Vokator Universal Binary

Anyone out there using VOKATOR for live vocoding effects? (In case you’ve been struggling, soon I’ll post my tutorial on setting this up in Ableton Live, which is not immediately intuitive because of the lack of dedicated side-chains in Live, though it is possible.)

For those of you who missed the fireworks, Native Instruments recently left its partner Stanton Magnetics (makers of Final Scratch) to pursue its own DJ strategy, which it unveiled at NAMM as (coincidentally named, I’m sure) Traktor Scratch. As with any breakup, that raised questions about support.

Here’s where the first bad news hits: the existing Final Scratch software is incompatible with Intel Macs. And that combined with other compatibility issues could mean the big losers here are Final Scratch customers, who are likely to be really unhappy when they learn the “solution” means buying new products, whether from NI, Stanton, or a third party.

Meanwhile, with NI dropping support for the software end of Final Scratch, Stanton is in the unenviable position of trying to keep their user base from leaving altogether.

Applied Acoustics make some of my favorite instruments. Their Lounge Lizard, Ultra Analog, and String Studio instruments are ones I’m always coming back to for their organic feel. So I’m going to take it as a sign that the week I finally get an Intel MacBook, they deliver Intel-native versions. My sets for next week at Macworld is secure.

Full impressions of these instruments on the MacBook — they do tend to be pretty CPU-hungry as they’re modeling-based — in an upcoming Core Duo roundup. In the meantime, here’s what’s new, beyond bug fixes: