Record is now shipping, and the beta closed – and now is a perfect time to talk about learning.

Okay, let me explain something. Propellerhead doesn’t want Record to be called a “DAW,” for Digital Audio Workstation. I personally overcame my own distaste for the strange acronym today because, well, there’s not another good name for a related set of tools.

But I do think Record is different. Workstations are usually defined by being all-in-one environments, for hosting other third-party instruments and effects, and adding in additional features like notation and video scoring. Record is none of those things. You can even treat it like a virtual mixer or rack of processing tools and load it into your existing “DAW” of choice, or take something like Ableton Live and load it into Record for mastering.

But then, Record is the exception that proves the rule, isn’t it? Aggressively geared to be the anti-DAW, to avoid trying to be all things to all people, Record illustrates the variety of ways you can get your music making done.

We’ve had a good, healthy debate on this topic, so no reason to resurrect that. Instead, I have two pieces of news: one, Record is now actually shipping. Two, if you’re interested to learn how to use it, or just to see what they’ve done, the Props have assembled a terrific set of learning resources. For beginners, “Record U” promises to cover the basics of recording tasks as well as the software. (So far, the first episode, “Recording Guitar,” is available.) You can add that to lovely ReWire tutorials from the folks who developed the technology, and mini-tips on how to use the tools. Whatever you think of the software, it’s an exemplary learning site, just the kind of thing you’d hope developers would do.

Basics video
Record U
Tutorials Page
Micro Tutorials and iTunes podcast link

I’ve chosen my favorite so far. Love it or hate it, I think this illustrates some of the vision of Record. It makes moving tracks and devices as easy as racking up instruments and effects in Reason, and makes mixing and matching audio uncommonly easy. That could make Record a nice tool to have around for trying to take your pile of recordings and productions and turn them into finished tracks and albums. (A lot of this “love it or hate it” phenomenon seems to depend on your feelings about Reason, so Reason fans will also want to take a look at the Reason – Record integration video.)

Renoise has already earned a passionate following among lovers of trackers. The once-forgotten alternative to conventional sequencers, these music editors were beloved for their quick workflow and vertical, atomic approach to assembling beats and patterns. But Renoise is increasingly poised to appeal to other kinds of music makers, too, not just tracker purists.

2.1 you can sum up pretty easily: now you can integrate Renoise with other stuff easily. There’s ReWire support (appropriately enough for a tool beginning with “Re” in the title). And if you’re on Linux, you can pipe control and audio through the ultra-elegant, ultra-powerful JACK. (If you’re not on Linux, you may have just gotten a good reason to give it a try.)

http://www.renoise.com/

This is on top of a rapidly-growing set of features like multi-core balancing, automatic delay compensation, audio recording (cough, Reason), and MIDI inputs and outputs. In other words, this is a tracker you can use without giving up modern luxuries. Maybe it’s like the difference between having a tent in gorgeous mountainous wilderness, and having a mansion with a hot tub and a T1 Internet line.

ReWire is the headline, but some of the live performance tools may make an even bigger difference. Live control tools and live pattern sequencing could make Renoise a lot more useful in performance, even without just ReWiring into Live and recording clips. The pattern triggering looks especially nice, because it brings a feature Game Boy trackers have often used live. (Add JACK on Linux, and you could add your own custom instruments.)

And, oh yeah, the whole program runs on every OS, has an incredibly responsive and involved community that impacts the direction of the tool, and is distributed on a shareware model rather than with painful copy protection.

Full disclosure: I’m slightly biased by enjoying a couple of beers with Renoise’s Dac, and by the fact that I think this looks completely delicious.

Here’s the full changelog.

Full ReWire Slave & Master support (on Windows & OSX)

ReWire allows you to connect and synchronize multiple software applications, so that you can run them side by side while passing Audio/MIDI information between them.

For example, you could connect Renoise to Logic, program your drums in Renoise, while arranging the bulk of your song in Logic. Or you could connect both Reason and Ableton Live to Renoise, arrange your track in Renoise, control Reason’s built-in synthesizers, and play around with loops in Live. All it takes is some ReWire enabled software and you are good to go.

ReWire has two modes, both of which are fully supported by Renoise: *ReWire Master* (ReWire Mixer) and *ReWire Slave* (ReWire Synth)

Jack Transport Support (Linux only)

Similar to ReWire, Renoise now supports the Jack transport protocol. Jack transport allows Linux users to start, stop and reposition multiple audio programs, all connected/running through Jack. 

New Pattern Sequencer Features:

Decoupled Sequencer Playback Now Possible: This new feature allows the user to detach the current playback position from the edit position. This lets you edit a pattern while other patterns are playing.

Live Pattern Triggering:

Patterns can now be "scheduled" for playback via a new column in the Pattern Sequencer. Without stopping playback you can now trigger new sequences in the song "in real time". 

New meta devices (Modulation / Automation Device fun)

• Hydra Device: Automate/change/broadcast multiple FX parameters with a single parameter. Think of this as a magic slider, which connects itself to up to 9 other parameters – allowing you to change multiple settings with just one slider or automation.
• Keytracking Device: Modulates parameters depending on an instruments key (note) value. Like what the "*Velocity Device" does with Velocities, the Keytracking device does with Keys/Notes.  
• MIDI Control Device: This device replaces the old "MIDI-CC Device", finally offering Pitchbend, Channel Pressure, Program Change & regular controller (CC) in a single device.

I hope to check this out in June when I can sit down and get back to production.

Sibelius today gets the biggest upgrade I’ve seen from the tool in a long time, with major improvements to the way the notation package lays out musical objects on the score, and ReWire support so you can integrate it with your host of choice.

This is an especially meaningful upgrade to me, as I’ve spent a lot of time with Sibelius since its first Mac release about a decade ago, both composing and teaching with it. In case you missed it Friday, I just spoke about some tips that can help with working in both education and composing:

Five Sibelius 5 Notation Tips, for Education and Experimentation with Scores

A couple of the recent upgrades, while nice enough, were not necessarily “must-haves” – a natural part of any upgrade cycle. But this to me looks different.

Here’s what’s new in Sibelius 6:

• Magnetic Layout: Sibelius has always been “magnetic” in that it automatically reflows objects and page layout to keep everything looking “tidy” as its English creators would say. It’s also always been fast at the task. The problem is, a lot of objects have still required lots of manual tweaking. Sibelius users, you know what I’m talking about: hours spent fine-tuning dynamics and text indications, rehearsal marks, and the like. Basically, all the objects that we’ren’t magnetic now are. (see above)
• Magnetic Layout implementation: In addition to the more intelligent objects and space optimization, you’ll see clever collision avoidance, and red-colored collision highlighting when a collision is unavoidable. It also looks like there are nice new guides for, say, making a forte, piano, and hairpin descrescendo all line up, something that required painful manual tweaks previously.
• Versions and comments: Scores now track and manage revisions, and you can create comments on the score. Theoretically, this is for collaboration and teaching, though I imagine it’ll be useful even to a solo composer as a score is developed – enough so that you may start to haul your laptop to rehearsals instead of just paper.
• ReWire: Sibelius will now act as a ReWire client, so you can record the output of the notation software itself (see the new instruments), or simply sync Sibelius to an existing project. Avid is naturally talking all about Pro Tools, but because the integration is with ReWire and not just Pro Tools, Ableton Live, SONAR, Logic, DP, and the like all become possible, too. I’ve never much liked the notation facilities in standard DAWs, so that’s good news – and this should be huge for the composer just wanting to record a quick mock-up with virtual instruments as well as someone doing film score.
• Notation improvements: Slurs have always been reasonably elegant and automatic in Sibelius, but when it comes to manually overriding those controls, they’ve been more challenging. Sibelius 6 includes (appropriately enough) six handles for controlling slurs. There are also optional stemlets when beaming across rests (hugely helpful for people who write complex, cough, rhythms in their music), automatic feathered beams (instead of the hack we’ve been using), and smarter articulation placement. There are new jazz repeat bars, and cautionary accidentals are finally added automatically. These are minor things, but quite frankly, it’s little details like that that often make the biggest day-to-day difference. (The cautionary accidentals alone might be worth an upgrade.)
• New integrated instruments: Profiting from Sibelius’ acquisition by Avid (formerly its Digidesign unit), Sibelius now acquires the lovely virtual instruments from the AIR team who have been doing soft synths for Pro Tools. There’s a new player, plus M-Audio’s General MIDI sound player. This replaces a previous player from Native Instruments. I love NI, but the NI player in Sibelius often wasn’t quite plug-and-play, and this promises to be an improvement. (See additional notes below.)

There are other features, as well. Keyboard and Fretboard windows provide visual feedback to those just learning musical notation. (The guitar fretboard is handy, too, for keyboardists like me who need to think through what a guitarist would do with our music – it was an early feature of Sibelius’ entry-level guitar product G7.) Classroom Control allows educators to monitor students, send and receive scores, and monitor changes, which could help with file exchange or even administering exams in Sibelius.

One feature may be especially revolutionary for certain user applications. Live Tempo finally allows you to tap in a conductor track so you can control tempo fluctuations manually. This is more sophisticated than the (useful) similar feature in Finale – it integrates with Sibelius’ existing fluid tempo functionality, allows subdivision of beats and other musical possibilities, and can be recorded and played back and edited by section.

All in all, this is a very significant upgrade. I’m still disappointed that Sibelius – and mainstream notation in general – remains so inflexible for lots of alternative notations, and that seems not to improve in this release. But as I noted in my tips from last week, there are workarounds, and for sheer usability and saving time, these improvements all look welcome. I’m also pleased with the subtle notation changes – these are little things, but I think it refines the quality of score you can produce and saves time. We expect review copies soon, so stay tuned.

Q&A on Slurs, New Instruments

CDM asked Daniel Spreadbury of Sibelius to talk to us about some of the specifics of the new instruments from AIR and the slurs.

CDM: As I understand it, the sounds have been ported to the new instrument engine, built by AIR. What does this mean for bringing scores you’ve produced in earlier versions of Sibelius into Sibelius 6 for playback?

D S: When you open a score that was created in Sibelius 5 that used the old version of Sibelius Sounds Essentials played back by Kontakt Player 2, Sibelius 6 will silently update the score to use the new version of Sibelius Sounds Essentials played back by the Sibelius Player.

99 times out of 100 this will be an improvement on the playback you heard inSibelius 5. Although the updated Essentials library excludes a set of GM sounds (now provided by a separate virtual GM module, which can nevertheless be used simultaneously with the Sibelius Player if desired), and some sounds from old providers (e.g. recorder, handbells, piano, harp) have been replaced with alternatives from Garritan, Tapspace or AIR, there are many new and improved sounds that better complement each other than the sounds with Sibelius 5. For example, Essentials for Sibelius 5 contained only a solo violin sound from GPO and the other solo strings came from the GM set, so ensembles like e.g. string quartets didn’t sound great. In Sibelius 6, we have licensed further solo string sounds from GPO, so a string quartet will sound substantially better. And we’ve tried to do this across the board, for all the common genres of music.

For that one time in 100 when the original library would sound better, provided users still have Sibelius 5 installed, they will be able to choose to use the Kontakt Player 2 version of the library by choosing ‘Sibelius Essentials (32 sounds, Kontakt)’ from the Configuration menu in Play > Playback Devices.

CDM: Slurs with more manual control handles are something we had seen previously in Sibelius’ rival, Finale. Can you describe what’s different about Sibelius’ implementation?

Sibelius’s slurs have a number of advantages, including the power to copy and paste a tweaked slur and have its tweaks reliably reproduced when pasted elsewhere, the ability to tweak multiple selected slurs simultaneously via the Properties window, reliable keyboard editing of the position of each handle and control point, and so on. Sibelius 6 also implements the standard slur positioning rules (i.e. slur below when all stems point up, but slur above if any stem points down; in two voices, slurs go above stem up notes and below stem down notes, etc.) but retains the ability to simply flip slurs by hitting X. Slurs are also now properly editable on both sides of a system or page break.

Sibelius’s method of editing slurs (including multiple slurs simultaneously) and copying slurs while retaining these edits, together with the fact that creating, extending and retracting slurs is in general simpler in Sibelius, gives slurs inSibelius 6 the edge.

Ed. note: Based on my experience with previous releases of both programs, this sounds about right – now I just need to pick something to compose this summer so I can give Sibelius 6 a try! –PK

If you have more questions about the new release, ask them here, and we’ll have a look as the new release comes out or pass along technical specifics to the folks at Sibelius.

What do you really want from a recording tool on a computer? The Digital Audio Workstation answer to that question has for years been on giving you a generalized set of tools that try to anticipate every possible need. The “workstation” approach puts a whole bunch of functionality in one place, in particular adding features like plug-in hosting for supporting third-party effects and instruments, video editing and scoring, and music notation.

Record is a different animal: it’s a specialized tool focused on making music with audio, instead of a generalized tool. Reason has focused on synths, with a distinctive set of hardware-styled modules in a virtual rack. Record focuses on sound, with a distinctive set of hardware-styled modules in a virtual rack. Get it?

What’s left out is important. There’s no plug-in support, but by limiting use to the internal sound modules, Record is entirely agnostic about things like sample rate and can be far more flexible with modular audio routing and fluid tempo changes. (There’s also no MIDI out support, but if you’re looking to sequence external hardware, I might look elsewhere, anyway – especially with gems like Numerology out there.) Record also supports ReWire and has various export features, so the assumption is that – as with Reason – when you really want plug-ins, you can use your existing environment of choice.

Maybe you can call the results a DAW, if you really want to. But the one thing that isn’t debatable: Record is Reason for sound.

CDM was first with the official story from Propellerhead over the weekend, talking about the philosophy behind Record. Now we can talk about the specifics inside – and I have a test version here I’ve been working with while on the road.

Basically, Record combines comp-based recording with Reason-style racks and a whole load of goodies for processing and mixing your sound, including Line 6 guitar effects and an emulated SSL mixing desk. Why am I excited to begin working with it? Basically, it’s what happens when you flip the Record interface around. The most important screenshot (see any of these shots bigger by clicking on them):

Here’s what you get:

• All about “Record”ing – with comps: As the name implies, the real soul of Record is recording. Comping is built in from the beginning so that you get a take you want, and each track even includes an integrated tuner by default. This is really a tool that assumes you’re actually one person plugging in an instrument and playing.
• Music and tempo-based sound: “Tempo-independent” audio is almost the reverse of what this is. When you record sound, the idea is that you always have some musical information in mind – beats and bars. Record lets you then change the tempo of that audio fluidly, without ever having to think about warping or slicing or markers or loops or anything like that. Propellerhead says they’re especially proud of the audio quality of the stretching algorithm working behind the scenes to make these changes sound good, which is what we’re already hearing (unofficially, of course) from beta testers in comments and elsewhere.
• Tempo changes: Unlike other tools that have focused on DJ-style or electronica-style master tempo, Record assumes fluid changes in tempo from version 1.0. There’s always a “conductor” track, a main tempo lane, which can have subtle, curved tempo changes (accel./rit.). When you export your audio, that information is exported as MIDI, so this musical information travels with you to other tools.
• An integrated recording/mixing/arrangement environment: This is the one DAW-like part of Record, though it still feels more like Reason than anything else. Each track gets three things: a channel routed into the mixer, an individual device module you can insert into the rack (as in Reason), and a sequencing lane for MIDI and audio.
• Sequencing: This is the most traditional part of Record – you do get conventional sequencer lanes. Clips can arbitrarily contain audio, MIDI, and automation data. The important thing to note is that, because Record doesn’t support plug-ins, you can count on consistent integration of automation – if there’s a knob in a module, you can automate it in the sequencer, just as in Reason.
• Hardware-style mixing: No software-style mixer here: the mixer inside Record is a direct simulation of hardware, not a loosely-inspired emulation. The Record mixer is modeled after an SSL 9000k analog mixing desk, so that it intends to look, work, and sound like the real thing. (SSL was not officially involved, so you’ll just have to count the Propellerheads as SSL fans.)
• Reason-style effects: In addition to the mixer, you get Reason-style modules for EQ, dynamics, and other effects.
• Line 6 guitar effects: Line 6’s virtual POD is built in, so you get their guitar amps and cabinets built in. I’m guessing those should be quite nice with keyboards, too.

Arrangement: Looking at the birds-eye view, Record does admittedly look like a DAW. But dig in a little bit to how these modules work, and there’s more Reason DNA than anything else. It’ll be interesting to work with these modules over the coming months. Also, most important to recognize is that when you see audio in Record, it will always obey tempo changes you make, including gradual speed increases and decreases – no warping or slicing required. When you do want to slice up audio, you could, say, drop Record as a ReWire client into an Ableton Live set, or even export your audio with tempo changes from Record as one track and put your sliced audio in a different rack.

The mixing desk:

The thing is, it’s not so much what Record does as what it does in a Reason-style way. So while this is a preview, not a review, here’s what makes Record more like Reason:

For Reason users, this one image pretty much sums everything up. The workflow is still essentially a Reason workflow – if you love that, you’re likely already salivating. If not, it’ll likely take more convincing from the other aspects of the tool.

• Every track is a rack: Each time you create a track, you get a modular rack, which translates to the inserts you see in the mixer. For advanced users, this means you can do anything with routing you want. You get a full-blown rack on each track, with all the usual goodies for routing. For beginners, it means you can call up easy presets for whatever you’re doing, and the parameters show up as plain-English knobs in the mixer. You don’t have to think about routing or what everything represents; you just focus on sound. For beginners and advanced users, the ability to “see” all of this routing with virtual cables and such means sophisticated mixing and routing setups aren’t quite so abstract.
• It’s a Reason interface: Everything looks and feels like Reason, even with a much more involved UI. All the new views continue on the theme of adjustable navigation panes. These views either get combined into a single-window interface, or can be detached if you’d prefer. But there are almost no dialog boxes, with one notable exception:
• You get Reason patches and patch browsing, for audio: Reason users will feel right at home, as Record extends the patch browsing metaphor from Reason. And because track effects inserts use what are essentially Combinators, those inserts just feel like Reason devices inside a mixer.
• Reason + Record: If you have Reason, you have access to all your Reason modules. And since Record has a big Reason rack – well, you get the idea. Instead of recording inside Reason, what Reason users get is Reason inside a bigger version of Reason that understands not only recording, but mixing and audio arrangement, and treats audio like music, with tempo.
• ReWire: Record is a ReWire client (slave), not a host (master). That should be your first clue Propellerhead aren’t trying to replace Pro Tools, Live, and Logic. But it does mean you could easily use, say, Record for recording purposes on your own, then drop it into a Pro Tools session in the studio, or Record to do some song-writing that you then bring into an Ableton live PA or remix set.
• Reason-style automation and control. Most notably, this is the first audio production tool I’ve seen that was set up from the beginning to be used with keyboards, as Reason was. It’s funny: right now, M-Audio are pitching using a keyboard to control Pro Tools with their Axiom Pro / HyperControl product. This essentially goes the other way: like Reason, Record uses the “Remote” protocol, which was effectively the first to “automap” your keyboard controller and control surface to the software. That means you can comfortably produce an entire work from your keyboard, while adding guitar or vocals as an audio recording.
• Oh yeah, it’ll be fun even if you only use synths: In case you haven’t guessed already, for Reason users, this means mixing and processing and arrangement tools that weren’t available before, so even if you never hook up a mic to Record, I imagine you could use almost all of these tools. (Only the tuner and audio comps become redundant.)

It’s really the relationship of the device rack to the mixer and tracks in Record that make it unique, and will be fun to explore over the coming months. When you create devices and Combinators, you can easily see them in the mixer and track sections. Sends are named as the actual sound parameter, too. Because it doesn’t support plug-ins, that also means you never have to worry about the way parameter names are handled in formats like VST, though you can always return to your favorite host when you do want plug-ins since Record is also a ReWire client.

Line6 guitar and bass amps are available out of the box as insertable modules. This is all you need for the interface: it’s aggressively simple.

The patch window will look familiar to Reason users. But if you’re new to this, what it means is that you can easily surf through, say, Line 6 guitar presets and hear immediately what they sound like.

So, what does the music sound like? Josh Mobley via Twitter tells us about his official demo song, “Push Me Down,” made in Record for Propellerhead. All the songs in the embedded player below were made in Record, with the exception of “Narrow Escape,” the demo for Reason 4.

About that Dongle

The other bit of news – and the one item that’s likely to be most divisive – is that Propellerhead is changing the authorization scheme in Record, as explained here:

Ignition Key

The good news: “demo” mode / non-authorized mode is actually only “open”-disabled. You can even save files in the demo; you just can’t open existing files. The Ignition Key comes free with the tool rather than being a separate purchase as with some iLok products, and if you lose or break it, a replacement is available for a nominal fee. (Some manufacturers actually have the gall to charge for the full purchase price of the product or close to it, which is utterly ridiculous.) Also, if you don’t want to use the key, there is an Internet authorization.

The bad news: it is still a dongle. Internet authorization requires a consistent connection while you’re working; the moment that’s dropped, the software reverts to demo mode. I would personally much rather have seen one-time Internet authorization as is available from Ableton and Native Instruments, among others, especially as Record would be fun to use on a bus or train without plugging in a dongle. Propellerhead say they’ve put some thought into this and wanted to do copy protection right, but I expect they’ll hear about it anyway.

The one upside I do see is for people who use a lot of machines (like myself, for one). You can use just the dongle without any other authorization, and you can use it on as many machines as you want. So that means you can move from a studio to a Mac laptop to a PC laptop to a netbook just by moving your dongle around, and never have to fill out a registration form or worry about if you’ve run out of authorizations.

Also, I’d suggest that people use this as an opportunity to freely try the demo without any annoying limitations and decide if you like the tool before you buy it.

Availability / pricing

Beta testing is starting now, today – sign-up at the site below.

September 9, 2009 is the official release date.

Suggested retail: US$299, EUR299. No word yet on what bundles will be available for existing or new Reason users, but Propellerhead says that it will have special bundle pricing of some kind.

Videos and more info at:

www.record-you.com

It’s been a long, long wait for side-by-side Reason and audio racks and recording in Reason, but there’s no question that this is a big announcement.

Since many of you will be beta-testing this alongside me, I look forward to hearing your opinions of the tool and any tips or techniques you discover.

Sequencing – the collection of techniques that actually assemble events in our music – seems to get far less attention than it deserves. After all, there are fairly accepted ways of synthesizing sound, but as many ways of thinking about musical events as there are ways of thinking about composition. Among the big DAWs, you’ll often see pitches to upgrade based on new effects plug-ins or magical audio-processing abilities, but rarely MIDI sequencing improvements. (When there are, of course, I applaud.)

That makes this week’s pre-Christmas announcement of Numerology 2.0 all that more special. Numerology is a modular sequencer and that alone. It brings some of the modular capabilities usually found in synths to sequencing, with component sequencers and modulation for manipulating sequence evens the way you’d usually transform sound signal.

The upshot of all of this: you can play with musical patterns with the freedom usually reserved for synths. Features:

• Sequencing modules, including MonoNote (monophonic sequencer), polyphonic PolyNote (duh) and MatrixSeq, eight-track DrumSeq
• Component sequencers for modular-style sequencing, plus LFOs, envelopes, CV mixers, MIDI generators, MIDI processors
• Stacks: virtual equipment racks for easier composing / performance, and an integrated audio mixer
• Add software plug-ins (AU) or route to external hardware gear (yep, the computer is still awesome when it comes to sequencing outboard synths, even in 2008/9!)
• New, simple sound-generating modules for easy integration with the environment, including synthesis, polyphonic AudioSample and eight-part DrumKit
• MIDI remote control of parameters, plus custom CV, audio, and MIDI routing
• Timeline playlist arrangement
• Sync via MIDI clock, MTC, or ReWire
• Mac-only, 10.4.11 and later; US$99 until 1/4/09 (then $119)

System requirements are pretty tame (this is a sequencer, after all), so this could be a great application for an older Mac, provided it has a 1GHz or greater CPU. (PowerPCs included.)

How does it all work? Here are some videos to give you an idea. Hope to add this to my scary but delicious testing pile (New Years’ Resolution: more useful hands-on content).

A demo:

Getting started:

Any passionate Numerology users out there? We’d love to hear from you. What are your thoughts on the new version, and how do you use the tool in your music?

Logic’s Environment, a modular layer in the program for creating custom configurations, isn’t well known to many Logic users. But if you can get used to its slightly unusual interface, it’s capable of some really powerful stuff. You know, important music stuff. Like connecting Logic to your Nintendo NES game system. Jonathan Flugel writes:

The MIDINES evironment was created based on this chart:
http://www.wayfar.net/0xf00000_midi_chart.php

The environment allows for control of the 5 channels of synth/audio that the NES [supports]

Here are the 5 parts:
1-2 – Pulse Synthesizer waves
3-4 – Triangle/Square waves
5- sample channel

Since this is also my primary template for a Logic session there are other goodies I left in there:

1. NYC compression bus channel
2. 3 bus channels that I got from Hybrid (electronic group) for simple drum processing
3. MPC groove templates taken from an MPC 60
4. Ableton Live and Reason ReWire objects

There you have it: Logic + NES + MPC + Live + Reason. If that’s not a digital dream studio, I don’t know what is.

In case you want to give this file a look:
MIDINES.zip
That’s the MIDINES, Logic 8 file (if anyone has a MIDINES but Logic 7, let us know and we can share the Logic 7 file.)

Thor “polysonic” synth: Continuing the industry-wide trend of combining different synth methods, Thor features six different envelopes, four filter types, wave shaping, and unique “analog-style” modulation routing. From anyone else, that description might be a non-starter, but the Props have a long history of really terrific synth design, and they promise Thor, like its predecessors, will be light on CPU usage — definitely bucking a separate industry-wide trend.

A mixer for quantization? Here’s where things get really interesting. The ReGroove mixer isn’t a mixer. It’s a groove/swing quantization tool. Quantization is real-time and adjustable, and can be applied to a full 32 groove channels independently. For anyone ready to break out of the mechanical sound of sequencing, this could be a powerful tool. I find it especially intriguing given the ridiculously simplistic quantization tools in Ableton Live; for some fine-tuned grooves, the combination of Live and Reason might again become popular. Oh, and yes, 32 independent grooves could well prove to be absurd overkill — we’ll have to figure out just how to use this. Or you could just apply one of the included groove presets, including (Props’ words, not mine) “vinyl funk gems of the 70s.” Sweet.

New sequencer: Yes, the original Reason sequencer was downright awful. This one sounds like one you might actually use:

…make global edits using “clips,” assign notes and controller events to different “lanes,” manage multiple takes, and edit events numerically—to name but a few of the hundreds of enhancements. Controller data now uses vector automaton for the smoothest of transitions. Users can manage tempo and time signature changes through a transport track. The inclusion of a floating tool window makes getting to frequently used tasks a snap.

In other words, Reason’s sequencer is a real sequencer now, at long last.

Also tasty-sounding: a new monophonic arpeggiator.

Despite its fantastic, CPU-light synths and effects, Reason had clearly fallen behind in terms of workflow. Beefing up quantization and sequencing and adding a new killer synth may be modest changes, but they sound like the right direction to me. I think the big question for a lot of users will be whether Reason fits in with another tool that handles audio, like Live, FL Studio, or a DAW. (And, for you hard-core sequencer types, maybe no audio at all but Reason inside an insane tracker.) I look forward to testing it.

The New Reason

And now, the obligatory giant rack shot:

Propellerhead Software Vista Compatibility

The flagship Reason, the original loop splicer-dicer app ReCycle, and the sample loading utility Reload have all been certified as Vista-compatible. In fact, you don’t even need a special upgrade: the existing versions work as-is, with two minor caveats. You’ll need admin privileges to install, and you’ll have to reauthorize your machine. (Updated: I shot off my mouth here and said that ReCycle wasn’t Universal on Mac. In comments, it’s noted that, while there’s not an Intel-specific build for Mac, ReCycle runs just fine on Mac OS X in Rosetta — makes sense, as unlike Reason, it doesn’t have the same performance needs.)

Now, requiring admin privs to install an app is a good thing, not a bad thing; OS X users have been doing this for some time, and it’s a major security hole in XP. (If anyone tries to use the “Windows just has more spyware because it’s a larger target” argument, you might ask them what kind of OS would let any application install anything anywhere without any user intervention. This should absolutely make Vista more secure.)

This news does tell us a little more about what to expect from other music software, and even if you’re on Mac or XP and planning to stay there, I promise there’s some free modular goodness at the end of this story. Really. You should read on.

Music Apps on Vista

But what does this logo mean? And what does this mean for Vista app compatibility? Glad you asked. According to Microsoft’s “Works with Vista” certification requirements:

The purpose of the Works with Windows Vista logo is to highlight and promote Microsoft and third-party applications that are compatible with Windows Vista. The majority of applications that run on Windows XP also work on Windows Vista with no changes. Of applications that do not run on Windows Vista, the majority can run with the help of either a Compatibility Layer (a setting which provides some Windows XP functions to the application) or an Elevation Layer (a setting which runs the application with administrator privileges). Some applications will require code changes to run on Windows Vista.

The Works with Windows Vista logo is meant to be applied to applications in all three categories. Applications that need no change and those that need a Compatibility Layer or Elevation Layer may acquire the Works with Windows Vista logo with no product changes. An application that needs a product update to be compatible may also obtain the Works with Windows Vista logo after the necessary changes have been made and the product update is made available to customers.

Okay, so in other words, most things will work on Vista, even if Vista is doing some fancy compatibility footwork behind the scenes, and if they don’t, they don’t get the logo.

REX/ReWire

The bigger news is that REX and (more importantly) ReWire, which were broken in their current releases in Vista, now work thanks to a new installer:

Vista REX/ReWire installer

That should clear a major hurdle and mean we’ll be ReWiring music apps on Vista as of day one.

Of course, software is unlikely to be the issue on Vista so much as hardware driver support. Stay tuned.

Free Modular ReFill

Okay, let’s not end on that note. Compatibility updates are boring. Let’s end on a free modular ReFill by James Bernard, available for download from the Props site. “If you are looking for something to spice up the holiday season, download Modular Madness today and help yourself to a tweaked out Christmas. Your family will love it!”

I’m not sure if my family will love it if I’m tweaked out on Christmas, but — okay, I’m game!

Propellerhead has just unveiled three updates, Reason 3.05 for Mac, and ReWire 1.7 and an updated REX library for Mac and Windows. The big story is native compatibility of Intel-native Macs for Reason, but that’s not the only story. Just about everyone will benefit from the new versions, on PowerPC and Intel Macs, and Windows PCs, possibly even if you don’t run Reason itself. This general trend could be enough to make 2006 the Year of Music Software That Finally Runs Faster.

If you have an Intel Mac and Reason, you now have an Intel-native Reason application, version 3.05. (While beta builds were separate for Intel and PowerPC, this build is fully Universal for both processors.)

If you have an Intel Mac, even if you don’t have Reason, the updated REX and ReWire libraries are also Intel-native for use with other applications that rely on those applications (like Ableton Live and Apple Logic Pro).

If you have a PowerPC-based Mac, you’ll still get boosted performance out of the new Reason and ReWire.

If you have a Windows machine, you’ll get improved performance from ReWire 1.7.

Or, to put it more simply, Intel Mac users are no longer waiting and everyone, regardless of machine, gets improved performance, even if all you’re doing is running ReWire with another application. So go download thus updates, everyone! (I think — so far, no word on whether there are any compatibility issues with the update and other software. As always, proceed with caution, back up your old version, and let us know how it goes.)

Propellerhead Downloads

You can add Intel-native ReWire to the other major technology on the Mac for routing audio between applications, Jack OS X, which is also Intel-native. Not everyone will be ready to make the jump — you can’t run non-Intel plug-ins inside an Intel-native application — but if your studio setup is Live + Reason, for instance, you may be ready to take the plunge.

And for Windows users, Reason isn’t the only app that’s promising simultaneous advantages on the Mac and PC. I think that’s not only because the two platforms share Intel chips: even with AMD processors, what appears to be happening at a lot of software houses this year is a general house-cleaning of code. If you have to add Intel Mac compatibility (or x64 and Vista compatibility on Windows), why not have a little spring cleaning in some other areas? That appears to be the thinking, and the truth is that many performance optimizations work on all platforms, regardless of whose brand-name is on the CPU, especially when you’re talking about multithreading for the increasing number of dual-processor and dual-CPU machines.

And what a sweet combination it is.

Finally, you can add ReWire tracks to a Logic project using the Create Multiple Tracks command (or use one of the updated ReWire templates), and since 7.2 added better labeling and stereo support for ReWire, interconnecting the two is truly plug and play. Load up Live, and you have both apps working together beautifully — just blazingly faster than anything you’d see on a G4-based Mac. As I found with Logic Pro, Ableton Live runs almost as fast on the dual 2.0 MacBook Pro I tested as it does on my dual-2.7 G5 tower. The iMac and mini aren’t slouches, either.

The Ableton user forum has already extensively benchmarked each new Intel Mac machine, and the results are impressive. Since Live is especially popular onstage, you’ll be happy to see you can tote just about any complex project, even on the single-core Mac mini. The dual-core machines should get even faster with the next release of Live, since Ableton is promising more extensive multithreading, among other optimizations.

There is one detail that’s troubling the Ableton users: Live still appears to run more efficiently under Windows than Mac, based on the indication from the CPU meter running the forum’s benchmark project on the same Mac on OS X and Windows XP under Boot Camp. I’d take those results with a grain of salt, however. The CPU Meter is not the most efficient way to benchmark a system, because it’s not an entirely reliable or objective measure. Also, it’s difficult to say with just one project what might be causing a discrepency, especially since the gap is now fairly small. Theoretically, based on the numbers coming from the tests by forum users, real-world performance should be close enough on the two systems to make the platforms essentially equal. (In other words, your decision is really more about which OS you prefer than anything else.) Neither the Windows nor Mac build of Live is taking full advantage of the dual-core machines, either, so the results should get more interesting in the next release (they’re still well within high-end desktop-class performance, on both Mac and Windows, even now).

Back on the Logic front, some readers here have suggested a runoff between Logic 7.2 for Mac and Logic 5 for Windows on the new machine, but that seems unfair: Logic has advanced quite a lot since 5.x, so it would be hard to know how to interpret the results.

This point is up for debate, of course, but I think it comes down to this: if you want a system that will keep up with live performance demands, you should be happy with any of the new Intel Core machines, whether you prefer Mac OS X or Windows XP as your operating system. PC users have a more complex choice, given competitive chips from AMD, and Mac users still have to consider the very fine Power Mac G5 in the desktop space, but the new CPUs are delivering the kind of performance they promised.