A lot of hoopla has been going around the internet this past week regarding the iPad. Love it or hate it, the fact of the matter is that Apple has a track record of producing new hardware that rocks industries in such a way that the entire industry changes. The question comes down to then how will the iPad impact music production?

One of the biggest complaints I have seen from people regarding the iPad is that it is not running OS X and while this might seem like a fault at first I actually think it is a blessing in disguise. OS X and even Windows are what I would call “dead” platforms. Not dead in the sense that people will stop using them, but dead in the sense that they have pretty much reached the pinnacle of their development. They are mature and probably won’t be seeing any revolution design changes.

There has also been several complaints about the restrictive nature of the iPhone/iTunes application ecosystem.  Peter Kirn over at CreateDigitalMusic.com. I agree with his sentiment to an extend in so much that the closed fist that Apple has on the App store can be detrimental, but I am not so quick to jump to his side in that open source is the solution. I love open source as much as the next person, but the inherent problem with open source on the whole is that almost all of the products are not consumer friendly. And to be honest the way in which Apple governs its App store has probably not afflicted most consumers in any great impact. In fact it could be argued that Apple’s approval process has been a huge success at keeping the applications on the store and on the iPhone running amazingly well. Regardless though of what you think about that process we will see music production applications come to the iPad. It is safe to say that there will always be a place for those who want more openness to go as well, namely Android.

There is new OS war brewing and in this OS market there is tremendous growth potential for the company that takes it over. Right now the front runners are Apple with the iPhone OS and Google with Android/Chrome OS. What is unique about these OS’s and most of the products that they are running on is that they are middleware of sorts. They are complimentary to your traditional OS. They aren’t going to replace it. You will sync your general media, contacts, documents, etc. on them and chances are sync that back to your “desktop” OS when you are done. The assumption that these platforms are inherently less powerful is entirely the wrong way to look at these platforms in my honest opinion.

So being that they are middleware or complimentary, how do they come into play in music production? Are you going to be running the latest version of Logic Pro or FL Studio on them? Chances are the answer is no, and while that functionality may come with time that is not where its strength is going to lie. Instead think of ways in how these OS’s and devices can link up and also complement your traditional workflow.

If you can break away from the traditional mindset that these devices need to run your existing applications in existing methodologies, their potential grows tremendously, and not just for music production.  Think for a second of the iPad not as the hardware running your DAW but instead  as running or being a control interface for your DAW, or perhaps operating as you would an external synthesizer. May be it replaces your midi controller?

The power of external DSP systems has  proven itself to be useful in music production. The TC Powercore, Muse Reactor, Virus TI, etc. How would your production setup be improved if for example you could run a modular synthesizer just on the iPad, where the DSP processing is handled and it shows up in your DAW as any other VST? Think of how the Virus TI works. The OS on the iPad has such low overhead compared to a traditional OS that you could do DSP offloading applications on it that you perhaps couldn’t do in a traditional OS environment.

Hey Remeber this guy? The Jazzmutant Lemur? It was the “groundbreaking” multi-touch control surface interface that everyone wanted for years, but was just too expensive to own. Well guess, what. Apple just announced a $500 multi-touch control surface.

Wan to know something else? There is already a control interface software that runs on the iPhone/iPod Touch called TouchOSC that utilizes Open Sound Control.

You see where this is going, don’t you? Just look at the plethora of other interesting music creation applications that already exist on the iPhone.

Jasuto

Noise.IO

Inuta

Heck, Even Akai is getting in on the synthesizer creation business and we have also seen how well the Korg DS-10 synthesizer has been received.

The point is I think there is a huge potential here that is going to explode. No, this is not a replacement for your desktop, but were you really looking for that anyways? What is is though is a very interesting piece of hardware (that will only improve in future generations) that developers are going to take advantage of in the near future to produce some crazy good applications for. Just think of what they can do with that screen real estate!!!!

First up is the MixDeck, a new integrated all in one DJ solution that can handle everything from CD’s to mp3’s to an iPod.

• Complete system with CD/MP3/USB decks, mixer, computer audio and MIDI interface, and Universal Dock for iPod
• Play from CDs, MP3 CDs, USB flash drives, iPod, computers, and external inputs
• Record your set to iPod and listen later
• Mixer with EQ/rotary kills, replaceable crossfader, and complete controls for iPod
• Studio-quality computer interface for up to 24–bit, 88.2kHz audio
• Outputs (all stereo): Main (balanced XLR & RCA), Booth (RCA), Record (RCA), Deck 1 (RCA), Deck 2 (RCA), Cue (1/8” & 1/4”)
• Beat-synced DSP effects with wet-dry fader: chop, echo, filter, flanger, pan, phaser
• Smooth, fast, slot-loading drives with large, touch-sensitive illuminated platters
• Control MIDI software with no timecode needed via USB
• CD direct outputs for use with timecode interfaces
• Adjustable start and stop time for vinyl-like deck performance
• Automatic BPM analyzer and Tap tempo for manual BPM entry
• Slide BPM ±6, 12, 25, and 100% or bend with pitch buttons
• Key Lock holds pitch while you independently manipulate its BPM
• Seamless looping, sampling, and easily accessible hot cues
• Keep time moving forward while you cut or reverse the track using Bleep/Reverse
• Single-track, continuous, and programmable playback
• Fader Start plays the cued track when you move the crossfader
• Two large, backlit displays for BPM, CD/MP3 text tags, and folder navigation

Next up Is the NS7FX, which is their popular NS7 system with the included effects controller.

• High-resolution digital DJ controller with effects, built for Serato ITCH and compatible with Scratch LIVE libraries
• Direct-drive, motorized turntable platters with classic and modern feel settings
• Activate and control the effects in Serato ITCH
• Includes Serato ITCH DJ software
• Built-in audio with audiophile-grade circuitry, 24-bit interface
• Extensive loop, cue, and track-access controls
• Strip Search (patent pending) virtual-needle drop control
• Controls most MIDI applications without requiring a mouse or keyboard
• Rugged, all-metal construction
• Integrated laptop stand
• Fits in NS7 CASE for protection in transit to the gig
• High quality, replaceable, adjustable CP-PRO crossfader and D-TYPE line faders
• Support for Whitelabel.net files in ITCH
• Mix using either 33rpm or 45rpm speeds

Also announced is the new V7 virtual turntable and the soon to be released X7 mixer. The V7 features built in effects controls and the X7 features two usb inputs for syncing two laptops. Full details can be found at Numark.com

http://www.numark.com/wnamm2010

Indamixx has posted a video up doing a quick walkthrough of some of their partnered laptops and software including EnergyXT, Renoise and a new DJ software. Also quickly featured is a couple of new laptops such as their netbook, HDMI DJ system, IndaMixx Pro and IndaMixx Slim.

Great proof that Linux can succeed in audio in both the hardware and software realms.

via NoisePages.com

Features include:

• Serato-approved USB MIDI Sub Controller for Serato Scratch Live
• Simple USB plug-and-play Connection (USB MIDI / Bus power)
• Dedicated tactile controls to replace computer keyboard shortcuts
• High-quality steel cabinet with rugged rubber keys
• File Select knob and buttons with back-forward action keys
• Track Select and Fast Search buttons
• SHIFT/CLR Button
• 5 Cue Point and 3 Sampler Player buttons
• Auto Loop button with Loop Cut knob & Roll
• Loop IN/OUT button with Exit/Reloop
• File, Browse, History and Prepare keys
• Tap button
• MIDI mappable for other DJ software systems
• Unit measures 9.8″ width x 3.4″ depth, and weighs under 3 lbs

Priced at $199.

The other announcement is DN-HC5000 Serato which is designed to control Searto Itch

• Integrated “one to one” hardware-to-software mapping for instant control and minimum setup time
• Interoperability with Scratch Live crates, loops and cue points, and support for iTunes®
• Clean and simple software user interface with emphasis on hardware controller to display information
• Auto Tempo Matching and Beat Sync
• Optimal Gain and BPM Calculation
• Serato’s unique color waveforms for easy identification of sound
• Set and store Cue-points
• Manual and Auto Loop activation
• Exclusive access to fresh promotional music with Whitelabel.net

priced at a hefty $1099.

http://www.denondj.com

They have announced at NAMM that they are parterning with several companies, the first of which is Presonus to allow for direct uploading to the service from audio applications. Audio File Engineering is another partner and it is reported that Ableton Live will soon include the feature as well.

This is exciting news for the site and for the music web business. We have seen this sort of integration with other social networking services before, but not in the music world. How the feature is exactly going to be implemented is unclear at this point. Soundcloud has grown in large part due to its ability to easily distribute audio files and remix packs online. The ability to upload individual tracks within an audio project would be a useful one indeed.

Quote Alexander Ljung, SoundCloud CEO:

“We’re very excited to be launching the first of our music softwareintegrations with PreSonus and Audiofile Engineering. With these upcoming partnerships it’s possible to imagine a production workflow in which you produce a track, upload it to SoundCloud, and send it direct to Abbey Road for mastering without any files hitting your desktop. We’re imagining a future where music professionals can seamlessly use the web together with their desktop tools in a fully integrated and extremely powerful combination. The SoundCloud platform and our open API, in combination with progressive companies like PreSonus and Audiofile Engineering, are making it possible for this future to arrive in 2010.”

via Harmony-Central.com

First news from NAMM is trickling in. Akai has announced a new version of their APC line with the APC20. This is essentially half of the previously released APC40 from last year. The new APC20 features everything but some send effects, additional knobs and the crossfader from its older brother.

From the press online it appears that the APC20 is meant to be more of a companion kit then a standalone. You can chain up to six of them together.

Price is $199

http://www.akaipro.com/apc20

Korg has announced an updated version of their popular Kaossilator. The Kaossilator Pro is basically a step up from last year’s model and is analogous to the MiniKP and its bigger brother the KaossPad 3.

The Kaossilator Pro takes the same basic hardware specs and idea of the KP3 and focused on a sound source rather than an effects source. The overall idea sounds extremely appealing and it features 200 sounds (still not a true synth though) along with the ability to load PCM samples. It is not quite the sampled based KP4 many were hoping for, but it is a good start.

http://www.korg.com/Product.aspx?pd=564

As I have been dipping my toes into the water of tracking again I realized that it might be useful for people to have a blog that follows the development and music in the tracking world. Now, there are a couple of blogs out on the net that are focused on the demoscene and a few on tracking music, but the scope of tracking has changed so much these days. Many of these blogs, in my view are still very much focused on the oldschool of tracking, which is fine, but I would like to focus on topics of tracking that are related to the general musician. So many of today’s trackers can do full on music production as well as any other program and I would like to discuss the tools (hardware and software) and music that is coming out of that arena.

So, as I gather my thoughts over the next several weeks and months to focus the site, I would love to hear feedback if anyone has it regarding how to move the site forward with respect to tracking.

Novation and Ableton have announced a new dedicated controller for Ableton Live called the Launchpad. Taking obvious design ques from the popular DIY Monome kits, the launch pad a 64 button interface designed to control Live’s session view.

Details from Ableton.com

Big grid
Launchpad features a multi-color, 64-button grid for launching clips plus eight dedicated scene-launch buttons. The buttons are lit by LEDs displaying clip status so you can see at a glance what’s loaded (orange), what’s playing (green), and what’s being recorded (red).

Compact, portable
Despite the big grid, Launchpad is compact and portable: it’ll fit in your bag for gigs and won’t hog your desk space in the studio. It’s slim, sturdy, weighs less than a hardback book and it’s USB powered, so there’s no power adapter to drag around.

4 modes for flexibility
It’s not just about launching clips: as well as the Session Mode, Launchpad offers Mixer Mode—a unique way to control Ableton Live’s mixer—and two fully-customizable User Modes.

Innovative mixer control
In Mixer Mode, the rows and columns of the grid become virtual faders, sliders and knobs controlling track volume, pan, sends, mute, solo, Clip Stop Buttons and record arm, depending on the function selected. Use the scene launch/mixer function buttons to select the function you want to control.

Customizable
The two fully-customizable User Modes transform the grid into a drum pad controller, DJ effect controller or anything else you can think of. The default state for User Mode 1 provides drum pad control for Live’s Drum Racks—great for sketching out beats. Using Live’s simple MIDI mapping, it’s easy to create custom control environments, whatever devices you’re using and however your Live Sets are configured.

Made for Max for Live
The User Modes make Launchpad the ideal hardware counterpart for Max for Live. Launchpad is flexible enough to deal with even the most detailed Max for Live devices and can handle generic parameters and controls with ease. Eleven LED states provide visual feedback that’s precise enough for complex devices. Launchpad users will soon be able to download a Max for Live step sequencer patch from Novation and more Max for Live patches are planned for the future.

Communication goes both ways
Live and Launchpad are in a constant, two-way, hardware-software dialog. The back-lit grid buttons show what’s happening in Live and Live, in turn, shows which section of the Session View is currently under Launchpad control: a red border around the current clip group let’s you see where you are with a just a cursory glance at your screen.

Navigating the Session View
Obviously, you’re not limited to controlling only 64 clips. The arrow buttons move the grid up, down, left and right one track or scene at a time. Hold down the ‘Session’ button in Session Mode, and you can use the arrow keys to jump eight tracks or rows at a time—very useful for navigating around large, complex Live Sets.

More buttons? More Launchpads
Want more buttons? Launchpads are designed to work together, with up to six units at once. That’s more than 400 assignable buttons! Launchpads running on the same system can run in different modes, so you can control the Session View, mixer and custom setups all at once, with one Launchpad for each.

It will be avaliable November 1st and priced at ~$200.

http://www.novationmusic.com/launchpad

http://www.ableton.com/nl398-launchpad

via LivePA.org

What is Presonus Studio One?

Studio One is Presonus’ first foray into the digital audio workstation market. Studio One is full featured DAW and comes packed with several built in plugins, a full complement of MIDI features and all of the multi-track recording and sequencing that you would come to expect out of a DAW in this price range. Studio One PRO is priced $400 in the U.S. and comes with not only the DAW package, but also with a mastering suite. The DAW side of the software alone will not be for retail sale and will instead be packaged into bundles with Presonus’ audio hardware.

On the outset Studio One has a lot going for it. It is a full featured DAW and it is well polished. In fact it demonstrates much of the maturity that we see in several others DAW’s and includes as I mentioned before the mastering suite, a 64-bit compatible version, Mac and Windows installation options and a robust audio engine. Presonus has even gone as so far to design the interface in the same color and design scheme that is seen on most of its hardware. As you can see in the picture, the interface is based around a darker color palate with blues and silvers. It is very easy on the eyes, but still contrasting enough to easily identify elements within the UI design.

Workflow and Interface

Launch Screen

When you first launch Studio One you will be greeted with a launch portal screen that appears to be becoming more popular in DAW’s these days. This launch screen allows you the option to select whether you want to create a new song or create a new project. Projects are what Presonus is defining as your mastering tracks. The terminology is rather confusing to be honest and there is not a place that readily defines what the differences are between the two options from the outset. Naturally most musicians would want to start out selecting the song option.

Also prominently displayed on the launch screen are three very useful columns of information. On the left you have your most recent files, in the center you have your audio/midi hardware information and artist profile and on the right you have a “news” feed from Presonus. The entire interface is rather well thought out but does have a distinct “Windows feel” to it, despite the shading and gradient textures used. The heavy use of these gradients also does take a toll on your system resources as the launch of the program takes up to thirty seconds to launch, presumably because it needs to pull in the latest news information as well as launch the detailed UI. I also question the usefulness of the news column in the long term. While it serves as a nice information section, is it really needed when the real purpose of the software is to create music? I am curious if users would utilize it in the long term and questions as to why an email from Presonus with news wouldn’t be more useful?

Now before you can begin creating music you need to authorize the software. Unfortunately the authorization process is not as simple as typing in your registration key. Presonus requires you to setup an online account on their website during the authorization process and link your software and registration key to this account. This is a time consuming and rather annoying process and personally I don’t see why it is needed. I can understand the concerns Presonus might have regarding piracy, but at the end of the day piracy is going to happen and there is no point in annoying the paying customers. Presonus is fighting an uphill battle in the DAW market right off the bat so they need to win customers over by making things as easy as possible.

Working with the Interface

Now if you have made it through the launch screen and registration process you then move on to setup options and launching of a new song. The setup of an audio interface is a very straight forward process, especially if you have a Presonus device. The rest of the setup for midi devices, sample library locations, etc. is self explanatory and very simple.

Moving on to the song section, when you first create a track you are presented a template selection screen similar to what Garageband uses, only it is not as well done. You will notice from the screen shot that the template screen is focused on mixer routings for Presonus audio interfaces. There are a few other basic audio setups basic instrument setups but on the whole the entire template screen just doesn’t appear as polished as what some other software is doing and in fact it can be rather confusing. Wouldn’t it make more sense for the software to automatically detect your track routings when you setup the audio interface, especially if you are using a Presonus interface? It also would have been nice if Presonus could have at least provided templates for other popular interfaces such as those from Motu or M-Audio.

When a new song is launched you are presented with a standard tracking window with transport controls, pattern editing, etc. On the bottom right corner of your screen you will find the three buttons that you will probably be using most often during your composing time within Studio One. The “Edit” window opens up a piano roll screen and the instrument’s or sample’s parameters. The “Mix” window brings you to the software’s mixing desk and the “Browse” window opens up your library for instruments and samples. The entire setup is very standardized and doesn’t bring anything new to the table. In many respects it is using the workflow that many other DAW’s have used for years and it is sticking to that formula. Adding instruments, samples, loops or a Rewire device is as simple as dragging and dropping from the browser library into the tracking window. The appropriate audio track for the most part is automatically created, but if you want to use one shot samples, you will have to load up a plug-in first before dragging the samples over.

Once you load up an instrument editing it is super simple. Simply double click the track and the piano roll editor instantly pops up. The piano roll in Studio One is a competent system that truth be told has a rather Cubase feel to it. Again it gets the job done, but doesn’t present the user with any ground breaking features except perhaps one. Presonus has decided to include an interesting twist in automation within Studio One actually confused me at first. In addition to standard track automation, which can be accessed in the main tracking window via a dropdown under the track, an additional set of two “mini” tracks of automation options for velocity, automation, and panning can be found underneath the piano roll. Now this option can actually be quite confusing for users. The automation within this section is automation assigned per the pattern and not necessarily the track. Presonus calls this “Instrument Part Automation” and the idea behind it is that each pattern has its own automation that can move with it regardless of how you arrange the patterns and tracks. The idea is a fantastic one, but the implementation for me personally was too clunky and confusing. It was not always clear what automation is doing what. It would have been much more efficient if the instrument part automation could have been integrated and displayed in line with the track automation in the sequencing window.

Mixing Window

Now that the basic idea of how to create some tracks is down, the next logical step that one would want to take in a composition is add effects and work on mixing parameters. As appears to be evident thus far in Studio One’s design, the basics of the mixing console are fairly easy to access and implement. The console on its face has a standard interface similar to that of a traditional analog console. Each audio track has a channel which can be supplemented by send buses and effects. From there on out though the console can get fairly complicated very quickly. Plug-in instruments are not clearly represented or distinguished from their sample counterparts. This is a travesty unfortunately because it is mostly likely the case that the majority of potential users for the software will be software based musicians. As soon as effects get into the fray the console interface becomes increasingly more complex and it seems that the complexity is mostly due to a design choice on Presonus’ part. When expanding the console to try to access effect inserts and sends, the effects channels expand next to the audio channel or above it. This seems counter intuitive to how many other consoles operate with the effects sitting below the channel strip. This is largely just a cosmetic issue, but in terms of workflow, musicians who are used to one process may find this one confusing. Overall the console mixing window comes across as a fairly daunting and intimidating section of the software that I believe will be the roadblock to many people using the software. What Presonus has developed is a rather full featured and flexible mixing setup, but the complexity gets in the way of the basic functionality that 90% of musicians will need most of the time.

Built in Instruments

Studio One ships with four basic instruments in the package. Unfortunately the instrument offerings are very sparse and the ones included are mediocre at best. Many other DAW packages out there offer much better built in plug-in libraries. Even the smaller companies have deals that package in free 3rd party plug-ins to at least get the user going. Presonus does neither and unfortunately presents the user which a setup that does not really entice them to dig deeper with the software.

Impact

Impact is a 4×4 pad MPC style drummachine that will work nicely with any drumpad controller. It is a simple instrument, but accomplishes exactly what it needs to do. In fact more DAW’s should ship with basic plugins such as this with the prevalence of pad controllers now in so many bedroom studios.

Mojito

Mojito is a simple one oscillator synthesizer and unfortunately not much more than that. Of the four instruments that are packed into Studio One this one is the most disappointing. These days a DAW needs to ship with a solid virtual analog “bread and butter” type synth that can get someone up and running. It is understandable that they are not offering something akin to what Logic Pro or Cubase offers, but when FL Studio ships with the 3xOSC which can on its own right create great sounding leads, Presonus needs to step up to the plate.

Presence

Presence is a simple sample format player. Presonus calls them “Sound Sets” and it is unclear at this time if they plan to sell these sets or not. In all seriousness though it is a glorified soundfont player and not much more than that. Useful, but not as useful as it could have been.

Sample One

Lastly for the built in instruments is a basic sample playback instrument. It would not go as so far to call it a sampler as it cannot do multi-samples and cannot even edit samples.

Final Thoughts

Final thoughts on the Presonus Studio One are mixed. On the whole there is a good foundation here for a new DAW. Unfortunately though Presonus is not doing enough within the software to really sell the user on it and some of the design choices with regards to workflow could be major turn offs for its potential user base, namely new musicians/producers. Studio One for the most part seems to be getting in its own way and there are too many clicks and menu navigations to get to what you want to. The mixing interface, perhaps one of the most important sections of the software, is just too cumbersome for most users to efficiently navigate into. The software is also severely lacking on the plug-in front. Cheaper DAWs on the market offer more and better built in plug-ins. Cheaper DAWs on the market even offer free third party plug-ins pre-packed. Whatever the case may be, Presonus let the ball drop. They need to offer more to the user to at least give the perception of value and it is inexcusable to not offer a core functional sampler or synthesizer in a DAW these days. When it comes down to it in the end, Presonus is just not offering the value for the money that other entry level DAW manufacturers are offering.

Summary

Pros

• Good tracking/sequencer interface
• Excellent integration with Presonus audio interfaces
• Competent DAW for musicians
• Deep mixing console if you have the patience for it.
• Useful launch screen
• Mastering suite in “Pro” useful for basic purposes
• Windows & Mac OS X support

Cons

• Slow load times
• Too many clicks to do most tasks.
• Interface feels “heavy” in response to user
• No QWERTY keyboard support for musical typing
• Audio routing for non-Presonus interfaces is confusing.
• Confusing interface with automation and mixing
• Included instruments are poor.
• Monopolized audio output on Windows Vista machine

System Requirements

Macintosh

• Mac OS X 10.4.11 or Mac OS X 10.5.2 or higher
• Minimum:
  • PowerPC G4 1.25 GHz or Intel Core Solo 1.5 GHz processor
  • 1 GB RAM
• Recommended:
  • PowerPC G5 or better or Intel Core Duo or Intel Xeon processor or better
  • 2 GB or more RAM

Windows PC

• Windows XP or Vista
• Minimum:
  • Intel Pentium 4 1.6 GHz processor or AMD Athlon 64 (Turion)
  • 1 GB RAM
• Recommended:
  • Intel Pentium 4 2.8 GHz EM64T or better or AMD Athlon 64 3000+ or better
  • 2 GB or more RAM

Tested on

• Windows Vista
  • Dell Dimension DXP061 32-bit
  • Intel Core 2 Duo: 2.4 Ghz
  • 2GB Ram
• Mac OS X 10.5.6
  • Macbook
  • Intel Core Duo 2.0 Ghz
  • 2GB Ram

Price

$399
http://www.Presonus.com