Apple Logic Pro 7

Apple Digital Audio Workstation Software

Review by Carlos Garza
Originally Published in Pro Audio Review


Apple’s professional digital audio and MIDI production environment has been updated with new sounds and a new look.  As with other Apple offerings, it is available in both Pro and Express editions.

Both versions of the program integrate digital audio and MIDI recording with software synthesis, sample playback and notation.  With version 7, the improvements include user interface, workflow enhancements, new instruments and effects and, with 7 Pro, distributed processing for networked Macs.

Both products retain their previous list prices of US $999 for Logic Pro and $299 for Logic Express.  Upgrades from previous versions are available and a $19.95 upgrade from Logic Pro 7.0 to 7.1 was recently released.  This review will focus on the features of Logic Pro. 7.0

Logic Pro 7

Logic Pro 7

Features

The core of Logic’s flexible environment is the Arrange window, where recorded regions are visualized and where most editing takes place. MIDI and audio can be edited side-by-side in the Arrange window or in dedicated editing windows. Logic has extensive formatting features for notation printing. Logic incorporates synchronized playback of QuickTime video formats including playback to FireWire devices.

Logic Pro 7 includes four new software instruments. Pro 7.1 adds an additional pair of hybrid synth instruments. Sculpture, a component-modeling synthesizer, simulates the physical properties of acoustic instruments. Models starting with strings or woodwinds are modified by selecting materials, such as steel, nylon, wood or glass. Software “Exciters” are added to the model to modify the sound based on how a sound is actuated — picking, blowing or bowing, for example.

Ultrabeat is designed after the drum machines that were popular in the 1980’s. Sounds are generated through sample playback, virtual analog synthesis and FM for bass sounds. Ultrabeat is capable of 25 voices and incorporates filtering and distortion effects along with swing and human factors quantization. The 7.1 upgrade adds the ability to export patterns from the drum machine to the Arrange window.

Both products include EFM1, a software based FM synthesizer, and a set of instruments from GarageBand. Some of the Apple Loops provided with GarageBand incorporate the original MIDI note information in addition to the segmented sound data. Dropping this type of loop onto a MIDI track allows substitution of the loop segments with new sounds. GarageBand songs can be imported into Logic.

There are several new audio processing plug-ins, including Guitar Amp Pro, a plug-in incorporating tube amplifier and speaker emulations for electric guitar. Pro 7.1 adds a Bass Amp plug-in.  Ringshifter combines a ring modulator circuit with a frequency shifter. The Vocal Transformer separates fundamental frequency from its overtones allowing male-to-female and female-to-male voice changes.

The Pitch Correction plug-in takes a monophonic sound source and enforces pitch conformance to a musical scale with adjustable tuning.  Using an extremely fast setting creates something akin to Cher’s “Believe” effect.

The 7.1 upgrade includes plug-in delay compensation for native plug-ins, support for nine additional control surfaces and a number of performance and workflow enhancements.

The Distributed Audio Processing capability now lets users supplement the CPU resources of a G4 workstation or a PowerBook with the resources of additional networked G4 and G5 machines.  The user picks a lower powered machine as the workstation and then enables distributed processing for plug-ins on selected tracks.  Audio is routed through the Gigabit Ethernet port to the node machines for plug-in processing and routed back to the workstation host for mixing.

Among the workflow improvements is the ability to import audio from Final Cut Pro with XML metadata describing placement of audio clips on the time line.  Logic 7 can detect movie cuts to place markers in the global tracks, import QuickTime movie soundtracks and insert soundtracks in existing QuickTime files.

Interoperability with other DAW applications is expanded through support for Advanced Authoring Format (AAF), which includes information on the placement of audio files in the project.  Bouncing to AAC is now supported along with enhanced ID3 tag editing for bounced MP3 files.

The Arrange window has been enhanced with several new editing modes.  Control of the shuffle and snap modes is available at the top of the Arrange window.  A new cross fade mode automatically fades between regions that overlap on the same track.  A track solo feature is now available in the Arrange window.  While previous versions had a single Autoload (template) song, users can now pick from a set of templates predefined for various project types.

Logic Express 7 has the same visual workspace as Logic 7 Pro and includes 26 software instruments and more than 40 effects plug-ins.  The software instruments include the EXSP24 sample playback engine with a modest sample library, a variety of software synths including analog and FM emulations.  Effects include a preset version of the Multipressor multi-band compression, Guitar Amp, pitch and time effects, reverbs and supports audio resolution up to 24-bit/96kHz and QuickTime synchronization.  Logic Pro 7 supports audio resolutions up to 24-bit/192Khz.

In Use

I tested Logic 7 Pro on a G4 dual 1 GHz under OS X v10.3.7.  The audio interface was a Digidesign 96 I/O going into a Pro Tools HD|1 card.  I monitored through a pair of Mackie HR824s.

I found that Logic pro offers a number of improvements in both the “getting started” stage of a project and the polishing stage.  GarageBand instruments make a nice starting point for sketching out arrangements.  Rather than spending valuable time sifting through hundreds of sounds or hundreds of parameter settings, with the GarageBand instruments you just pick the instrument family and perhaps tweak a few basic settings and you’re making music.  And yes, they sound nice.

The new filmstrip in the Global Tracks is far easier than the older thumbnail tracks.  The improved ability to edit tempo changes graphically against the bar lines and filmstrip was a huge timesaver for me in matching hits to video events.  A lot of my film music uses odd meters to help me line up cues and hits.  Seeing the meter in the Global Track along with the filmstrip was very handy.

The main thing that distinguishes Logic Pro 7 from other professional tools is the sheer number of musically useful instrument sounds that are incorporated.  Anyone looking to Logic 7 for sound design features will be in audio heaven.

The first stop for sound designers is Sculpture.  The random tremolos and otherworldly breath effects make these sounds come alive.  The accelerating and decelerating tremolos are very tempting.  Imagine a plucked string instrument with the attack of a coin rolling on the table or a bouncing ball.  The edgier sounds based on breath models are well suited to film score and alternative music.

I set out to explore the different ways of using Logic as a composition tool.  For example, what if I want to approach writing songs like I did in the 80’s, using a drum machine and a keyboard?  Logic gives you a number of drum and keyboards options that would work in rock, pop, hip hop or electronica.  Ultrabeat has a variety of acoustic and electronic kits.  A word of warning, the ultra low kick drum sounds in the electronic kits will seriously rattle your speakers.

Support for Apple Loops has been expanded to allow more flexibility in importing GarageBand songs into Logic.  However, you can just as easily start in Logic.  I found a jazz/rock drumbeat that worked well with a reggae bass line loop.  But it needed some electric guitar.  So, I turned to Guitar Amp Pro.

Most of the preconfigured settings work fine but you will want to tweak things to work with your guitar and playing style.  The crunchy Woodstock setting put some meat on my Strat copy and enough bite to cut through the swirling electric piano part I had going on the EVP88.

Next, I ramped up an instance of the EVB3 organ emulation.  The “Whiter Shade of Pale” sound would have been perfect in the right setting.  In my case, a grittier sound was needed and EVB3 came through with some excellent sounds.

The Apple Loops drum beat that I picked worked well with the GarageBand fretless bass.  The gritty EVB3 organ and the edge from Guitar Amp Pro made the mix more authentic and much less “MIDI band”-like.  And all of this without waking the kids.

Summary

There are enough sound making and shaping tools in Logic 7 Pro to keep an army of sound designers employed for years to come.  The Space Designer convolution reverb and the EVOC vocoder continue to amaze me.

The workflow enhancements from Garageband song file imports to environment templates make this the user-friendliest version of Logic yet.  The new Arrange Window settings for region placement and crossfading of audio regions make for more efficient editing.

I realize that some may find the price tag of Logic 7 Pro a bit on the high side but I can’t say it’s over priced.  It’s actually a bargain when you consider the extensive features for sequencing, high-resolution audio recording, notation and video synchronization.  I had no trouble on a G4 Mac but if you like to use a lot of plug-ins and a lot of tracks you should consider a G5.

Logic has matured into a very productive and versatile environment.  Logic 7 Pro offers a wealth of features that will be useful to composers, musicians and arrangers.  Both products are a great way to awaken your music and sound design creativity.

Carlos Garza is a film composer who produces and engineers film scores for broadcast and DVD and is a regular contributor to Pro Audio Review.

(c) 2007 Carlos Garza

Aphex Systems Model 204 Aural Exciter

By Carlos Garza
Originaly Published in Pro Audio Review.


Aphex Systems, celebrating 26 years in the pro-audio industry, has unleashed a revitalized version of its famous Aural Exciter. The Model 204 Aural Exciter with Optical Big Bottom is a big name for this single rack space box that packs a lot of flexibility into an affordable package. Engineers are constantly dealing with customers who want the loudest mix. “It has to go to 11 and have a big bottom.” Aphex was obviously listening and came up with a pair of effects that create the impression of a cleaner, louder mix without dangerous side effects.

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Features
So, what’s new in this replacement for the original Model 104? The new model adds frequency and dynamic control of low-end response, a revamped front panel and an internal power supply. The new millennium shiny finish and slightly textured knobs add a bit of sex appeal. The rear panel has a pair of operating level switches allowing independent selection between -10dBV and +4dBu. Inputs and outputs now include XLR connectors in addition to the 1/4-inch TRS found on the older model. Both inputs accept unbalanced inputs as well.

The manual is loaded with useful information on cable wiring and avoidance of ground loops. This includes diagrams for “pseudo-balanced” wiring of unbalanced equipment (for example, 1/4-inch TS to XLR).

The Model 204 also has separate controls for the Aural Exciter and Big Bottom. This means that you can use one channel as a low-end enhancer and the other as a high-end enhancer and bus each channel into separate effects sends on your console. The Aural Exciter and the Big Bottom sections each have a tuning knob that lets you select the range of frequencies for processing. You have to refer to the manual if you want to know exactly which frequencies you are selecting. A continuously variable knob is used to select the amount of harmonics added by the Aural Exciter.
The Tune control for the Aural Exciter sets the corner frequency for the high-pass filter. The lowest setting enhances frequencies from 800 Hz on up. Turning it completely clockwise means that you are only enhancing frequencies above 6.1 kHz. Likewise, the Tune control for the Big Bottom sets the highest frequency for bass enhancement (from 49 to 197 Hz).

The big story is the Optical Big Bottom circuit. This new circuit features a Light Dependent Resistor (LDR) that allows coupling of a controllable light source to a variable resistor. After passing the signal through the low-pass filter, the signal is fed through the adjustable drive circuit, which feeds the LDR. In principle, the LDR reacts immediately to the bass signal but fades slowly like a long release on a compressor. If you have the drive knob set correctly, you should hear more sustain from only the loudest notes. This is designed to produce a dynamic and resonant bass without a big increase in peak level.

In Use
I set out to restore some 1980s-era garage band recordings that originated on 1/2-inch 8-track and were mixed to 1/4-inch 2-track. I transferred the tracks into Pro Tools at Pepperland Recording and attached the Model 204 to the Digidesign 888 I/O using the balanced XLR connections. I created an effects loop using channel sends and an auxiliary bus for the return.
On some tracks, I wanted to bring out the vocal so I dialed in the lowest frequency on the Aural Exciter tuner. In cases where the vocal presence was fine, I went for enhancement of higher frequencies with the single goal of getting more “air.”  The manual says the 204 can “restore presence and clarity, improving transient response of individual tracks or the whole mix.” The 204 did not disappoint in this regard. Some of the tracks suffered from a distant and muted-sounding snare drum. The Aural Exciter made the attack transients brighter and sharper.

Of course, it will not fix a bad mix, but it can help produce a cleaner overall sound. When bypassed, I felt like I had to work to hear all of the instruments. With the effect in, I had no trouble hearing each part. The whole mix was up front, wider, and more balanced. Every instrument seemed to sit more consistently in its own space. The guitar had more bite, the keyboards were shimmering, the vocal was present and the words more intelligible.

One important aspect of the Aural Exciter and the Big Bottom is that the effects are more perceptual than physical. It sounds like there is a lot more bass and high end than is present on the signal meters. I found myself using less EQ in general. The Model 204 can also be used to preprocess tracks for low-quality playback. Listeners can be fooled into not missing the high frequencies that are lost in typical MP3 and cassette recordings if the high end that they do hear is enhanced.

I created some MP3 files and found that the effect was less noticeable than I had hoped. Cassettes had a more noticeable improvement (possibly because I used a high-grade tape). Some of my customers ask me to prepare backing tracks for dance and vocal competition. The final product, which goes out on cassette, has to sound clear and big. I found that the Big Bottom added a lively punch on most mixes.

Some of these sessions are rush jobs and it’s nice to be able to quickly see the when the input signal is being processed by the Big Bottom. I started with the Tune set at “12:00” and drive knobs turned all the way down. I then raised the drive slowly until the LED showed that the effect was active on most of the bass hits. Then I adjusted the Big Bottom Tune to focus the effect on the kick drum.

The result was more interesting than just adding low end EQ. The louder notes seemed to hang a bit more than the quiet notes. The intelligent transient sensitivity also made a muffled kick drum on one track sound crisp and clear. The effect was like changing a soft beater to a wooden beater. This is a very musically useful effect.

I only had a few quibbles with the 204: I would like to see the frequencies labeled on the front panel for the tuning knobs. I can imagine in a mixing situation dialing in frequencies on a shelving EQ and wanting to adjust appropriate frequencies in the Aural Exciter.
I also wish there was more control of the Big Bottom effect. Specifically, a release control for the low-end enhancer would really help tailor the effect to the tune/tempo.

Summary
I have had several studio customers that wanted to digitize and “restore” old recordings. Remember that a processor like this will not put back something that has been lost. When an analog tape has lost its high end, it is usually gone for good. However, the Model 204 can put a lot of life into a dull sounding track.

The harmonics that it constructs are useful and musical. You will hear each part with more clarity and presence. The versatility of inputs and separate channel processing makes this a worthy addition to any studio rack or live sound rig. At a suggested retail price of under $400, it is something to get excited about.

At a Glance

Applications:
Tracking; mixing; restoration; broadcast; webcast; live sound; dance clubs.

Key Features:
XLR and TRS I/O (+4 and -10); independent channels; independent control of aural Exciter and Big Bottom processing.

Price:
$399 MSRP
Contact: Aphex Systems, 818.767-2929, www.aphex.com, or circle Reader Service XX.

Product Points

Plus
• Independently operable channels for effects bussing
• Safely adds perceptual loudness
• Improves attack transients
• XLR connectors

Minus
• Front panel lacks frequency indicators
• No Big Bottom effect release control

The Score
Versatile effects in a refined package for a reasonable price.

(c) 2001 Carlos Garza