Apple’s "point" releases — those seemingly-harmless updates you get automatically in Software Update — do sometimes break stuff. I tend to ignore the updates until I’ve had a chance to confirm they’re okay. Case in point: it looks like 10.5.2 can result in glitchy audio on laptops.

Native Instruments has an official statement out on the problem, but according to them, this issue can affect software from other vendors, as well:

User feedback and internal testing indicates that recent changes introduced by Apple in Mac OS X 10.5.2 can cause audio dropouts and similar problems on Macbook/Macbook Pro computers. This issue is not limited to NI software in particular, but applies to performance-criticial music software in general.
Therefore, Native Instruments currently cannot guarantee the proper operation of its products under Mac OS X 10.5.2. If possible, users should refrain from upgrading beyond Mac OS X 10.5.1 until further information about this issue becomes available.

Now, I will say this: I am frustrated with Apple’s OS upgrade approach — and I think on any OS, media support is the most vulnerable area.

And the answer is … this real-time music production software is used for instantaneous sound effects and music clips needed in the fast-paced world of two popular game questions.

What is … Ableton Live?

Veteran sound pro Barbara Hagan describes to Ableton.com how she works with both programs:

Now I have two computers with Live; one is my main computer (new MacBook with 2.16 processor), and one is a back up (G4 PowerBook). I currently use Live on both computers, and I’m constantly busy building cues during two days of taping, six shows a day, on Wheel of Fortune, five a day for Jeopardy. I transfer new cues from CDs right into iTunes, then edit them in Live. I transfer info to my backups with flash drives and build folders for post production use every day we tape. I store everything, and back up three times everywhere. Guess I’ve ended up being the keeper of the music, safe and intact. Sometimes it’s pretty crazy, but mostly it’s fun. And it all started because of Live!

Now, music tool developers are regularly touting various “celebrity” users and pro applications for their product. But, of course, what makes this especially interesting is that Ableton Live was never designed to perform this task. It just happens that Live is the only general-purpose music software that tackles how to do live, real-time sound, not just as a plug-in but by baking what amounts to sampling features into the app itself. Years later, there’s been little response from anything else. It also demonstrates that certain general capabilities can have applications for users you haven’t thought of, particularly if there’s some fundamental utility to them (like triggering sounds easily).

Something to think about, not only in respect to Live, but if you’re building your own tools in programs like Max or even just working on tweaking your own live performance music setup.

Thanks, Marcel Ramagnano! Photo: xbeachy.

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.)

Apple has made a minor upgrade to its MacBook line — same price, same lineup, but improved offerings. The $1099 white model is actually a pretty great deal now: 2.0GHz / 1 GB RAM / 80 GB HD means you get a pretty solid model out of the box. Upgrade to 1.5 or 2 GB RAM, and I think you’d be very happy, even running relatively intensive audio processing. As always, consider an external FireWire drive if you’re doing any significant multitracking. (Spend extra if you need DVD burning or, you know, the color black.) This could mean the previous revision could get some bargain prices. Honestly, if you look at standard equipment, I find the MacBook extremely price-competitive with Windows. Add in superior MIDI and audio support in Mac OS X over XP/Vista, and I know many PC users eyeing this as their next laptop.

The problem I have is with the MacBook Pro. It’s a terrific machine, but there’s not much middle ground between the $1099 MacBook and the $1999 MBP. The MBP’s ATI X1600 is a terrific video card — and a lot of PCs include lesser cards on their 15″ models — but that’s a big premium to pay if that’s the only draw for you. Apple advises Final Cut Studio users to use only the Pro model, but Logic Pro is totally happy on a plain MacBook — as are Pro Tools, Ableton Live, Max/MSP, and [insert your favorite audio app] the lot. (The MBP has additional features, like its FW800 port and ExpressCard slot and bigger display. But I really like the MacBook’s tiny size. I’d almost rather have two MacBooks than one MacBook Pro. As always, it depends on needs. But there’s not the same PC-switcher-magnet on the Pro line — yet.) It’s a great machine, but I wouldn’t rule out its smaller sibling before making the call.

For bargain hunters, I think the MacBook is ripe for the picking. For performance lovers, I’m interested on both the PC and Mac side with what happens with some upcoming laptop architectures. There’s some juicy stuff in store for both the CPU and (CDMotion types) GPU.

Lest you think I’m being Mac-biased here, by the way, I’ve been playing lately with a one-Mac, one-PC setup and thoroughly enjoying it. I’ve got a Toshiba and MacBook packed in the same backpack at the moment.

What’s your take? Looking to pick up a new laptop? Need some advice? Say something in comments, as right now I’m jet lagged in San Francisco and running on hotel room coffee. If specs for an Amiga 4000 slipped in there, I wouldn’t be surprised.

The BCD2000 has been somewhat of a contradiction for me since purchase. On one hand the hardware is fantastic; robust and seriously cheap. On the other hand the included software and drivers are absolutely abhorrent, PC only affairs with broken midi implementation. I’ve always hoped that Behringer would update the BCD to have similar (extensive) MIDI configuration options to the BCR and BCF. That hasn’t happened, and almost 2 years after its initial release the BCD is almost in the same position as it started. Almost.

Evinyatar has commented on our early BCD2000 Not Mac Compatible post to announce that he - sick of waiting for Behringer to actually do something useful with their gear - has written and released OSX Universal drivers (MIDI only so far):

My first subject is Behringer’s BCD2000. When it was released about two years ago it was rumored that MacOS X drivers would be released by the end of 2005. Rather than waiting for those to appear (which they probably won’t) I decided to have a go myself. The result is quite good, if I say so myself. It works, which is more than I expected.

Currently only MIDI in and output works. Audio does not. That means you can control Traktor the way you would on a Windows computer, but you won’t hear anything through the BCD2000’s audio ports or record anything trough them. You can still, of course, use other audio outputs, built-in or external, that do work with MacOS X.

Right now the MIDI input and output are should be identical to the Windows driver in B-DJ mode. Which means a reasonable amount of pain is implied when trying to configure Traktor for the BCD2000. Basically, the same hack that works for Windows (using MIDI-Rules and a loopback device, in our case Apple’s built-in IAC) is also required for Mac. I hope to incorporate similar functionality inside the driver in the future, eliminating the need for the hack. For now, this will have to do. A more detailed guide to setting this up will be posted sometime later this week.

Early 2006 brought us the blockbuster Intel Mac ports — Logic, Live, Reason, and (most recently) Pro Tools LE — but now, finally, plug-ins are flooding in with Universal Intel versions. Just in over the last week:

BIAS Peak 5.2 brings Intel-native support to the old standby Mac audio editor. With Soundtrack Pro now available only as an upgrade for existing customers or as part of the Final Cut Studio bundle, Peak is likely to be many Mac users’ stereo waveform editor of choice. See my review for Macworld. Cost: Free.

Celemony’s Melodyne Software suite is up to 3.1, bringing not only Intel Mac-native support but some significant bugfixes and ReWire enhancements, as well. I got to speak to these folks at NAMM in January, and the new Melodyne is an incredible piece of software: it truly delivers on being able to stretch and re-pitch audio in a musical way. Cost: Free.

Last year, we got used to the idea of superstar Windows developer Cakewalk being “Mac guys,” just as we were getting used to the idea of Macs shipping with Intel processors. Now you get both in a single app: Cakewalk just announced they’ve updated their superb Rapture soft synth for Intel Macs. Rapture is a lot of fun, with an extensive but accessible modulation section and great-sounding anti-aliasing. It’s amusing to see Cakewalk beat a lot of long-time Mac developers to the punch. Cost: Free.

In addition to the full versions of these software, the “Lite” bundled versions of all the software included in the Pro Tools Ignition Pack are now all also Intel-ready. Cost: Free.

The message to developers here is clear: give people Intel-native versions free so they don’t have to pay for your software all over again.

So, how are Apple’s MacBooks and MacBook Pros doing for musicians? The interesting thing I’m hearing is that almost every PC user I know plans to make their next laptop a Mac. I don’t blame them; while I love the new desktop PC I built, Macs are still by far the most hassle-free mobile machines. A lot of us are waiting for the inevitable first revision to these machines, but in the meantime, people who have sprung for new Macs seem pretty happy. DJ Miles Maeda was playing on a set with me last night at Monkeytown in Brooklyn, and I got to check out his machine. He opted for the glossy 17″ display, and it looked fantastic. The extra screen real estate made it easy to monitor Ableton Live sessions on the go. He was pleased, as I have been, with how fast the Core Duo machines are. Notably, too, his computer doesn’t exhibit the high-pitched whine some of the early production-build MacBook Pros had.

Let us know your experiences if you pick one up. Software is rapidly approaching critical mass for many people to make the switch.

Apple announced a 17″ MacBook Pro today, as expected. Aside from a bigger screen and a standard 2.16GHz Core Duo processor, the 17″ MacBook Pro offers a dual-layer DVD burner (missing on the 15″ model), three USB 2.0 ports instead of two, a bigger hard drive, and an additional FireWire 800 port as well as the FireWire 400 port available on the 15″. (Check the specs from Apple.)

Minor details aside, the main reason to choose the 17″ MacBook Pro is because you like a bigger screen. Despite the griping of Apple fans, I don’t think FireWire 800 is much to miss out on, as it never delivered on the performance gains over FW400 some had hoped. (Of course, having two FireWire ports is nice, because you can plug FW400 devices into the FW800 jack with an adapter.) I’ve been testing a 15″ MacBook Pro, and I’ve come to like that screen size.

The big difference here is that the 17″ no longer carries a big price premium, spec for spec. As thesimplicity notes on the CDM forums, if you were planning on loading up the 15″ model with all the options, the 17″ is actually cheaper, not more expensive.

Apple is repeating their “5 times as fast” as a PowerBook G4 claim, based on integer and floating-point calculation benchmarks. Those don’t sound like real-world numbers, but real performance is compelling, too. We’ll be looking more at Intel Mac performance later this week, which I think is the big story for Mac users, at long last. And if I were buying a PC laptop now, it’d sure be Core Duo-based, too.