EQ Magazine - January 2009 - (Page 53)

instruments and effects, it doesn’t have some advanced effects (Space Designer and Delay Designer), nor does it have the Sculpture modeling synth or suite of vintage instruments (EVP88 electric piano, EVB3 Hammond clone, and EVD6 clav). Express doesn’t support TDM hardware, Digidesign’s DAE, or distributed audio rendering—admittedly features mostly for hardcore users. What you get that you didn’t expect: Logic Express has amazingly few performance limitations compared to Logic Pro 8. There’s the same track count (255 tracks maximum), 24-bit/192kHz resolution, notation, control surface support, beat mapping, and the Quick Swipe comping (i.e., all the various bits are assembled automatically into a single track) that everyone loves about Logic Pro. Express also bundles 36 virtual instruments (including the Ultrabeat drum box, ES2 “virtual analog” synth, and oldie-butgoodie EXS24 sampler) and 70 plug-ins, including Guitar Amp Pro—so you really have the plug-in bases covered. The bottom line: Before the price drop on the Pro version of Logic, Logic Express represented exceptional value. Many musicians realized it was all they needed, and happily pocketed the change. That’s a harder call to make these days, because an additional $300 buys you a lot more goodies; MainStage alone is almost worth that if you gig with an Apple computer. Throw in all the Jam Packs and the extra instruments, and that’s exceptional value. On the other hand, Logic Express doesn’t mess around. It has Logic Pro 8’s single-window interface, time-stretching, beat mapping, pitch correction, and the latest plug-ins (like Spectral Gate and Ringshifter). You really aren’t giving up much core functionality at all. While it’s a tough choice, if you’re strapped for cash and need Logic now, Logic Express will definitely not disappoint. www.apple.com ABLETON LIVE 7 LE ($149 DOWNLOAD, $199 BOX) I’m a fan of Ableton Live, so I have mixed feelings about the LE version (which also includes the Operator instrument—a nice touch). Why? Because Live is an extremely versatile program that can be used in many ways. Some people (including myself) use it primarily for live performance, some as a DAW, and others for remixing or generating loops. So we not only need to evaluate Live LE vs. Live, but also, for its intended application. What you don’t get: Live LE mostly restricts functionality. For example, there’s 64 audio tracks max instead of unlimited—then again, I’ve never needed even close to 64 tracks. Similarly, being limited to two stereo in/out pairs won’t trouble most users. You’re allowed a maximum of eight Ableton instruments/12 Ableton effects/two VST or AU effects per project (instead of unlimited), and two send/return buses instead of 12. Also, you don’t get some sophisticated features like being able to treat virtual instruments or effects as plug-ins, ReWire, complex warp mode (an amazing time-stretcher for program material), track freeze, MIDI sync, MIDI out for external instruments, REX file support, dithering, instrument rack editing (although they can be loaded/played), and video support. To me, the biggest limitation is having only eight “scenes” instead of unlimited (selecting a scene triggers a collection of loops in sync with the tempo), because the typical live performances I do require several dozen scenes. Those who tend to work within a scene (e.g., enabling/disabling individual loops), use Live as a DAW, or do mostly DJing likely wouldn’t find this limiting. The lower section shows the Simpler instrument and its associated MIDI track. The browser on the left shows some of the devices included with Live 7 LE, while the upper part shows Session View, which is optimized for working with loops. What you get that you didn’t expect: The audio engine equals the full version: resolution up to 32-bit/192kHz, smart memory management, and multicore/multiprocessor support. Most MIDI functions are present (unlimited MIDI effects/MIDI tracks, superb MIDI mapping to external controllers, time signature changes, etc.). There are also the same generous file import/export options, plugin delay compensation, the full complement of 23 built-in audio effects (many with sidechaining), and the Impulse and Simpler instruments. The boxed version adds a collection of sampled instruments (piano, guitar, bass, drums, harp, woodwinds, etc.), and additional content from Puremagnetik. The bottom line: With the boxed version costing a third of Ableton Live 7 and a fifth of the Ableton Suite (which bundles cool instruments and lots of content), LE represents a significant savings. Thanks to free trial versions of Live 7 and Live 7 LE, it’s easy to compare them. If you work a lot with basic MIDI, Live 7 LE is an excellent choice for creating loops (although it won’t drive (CONTINUED) www.eqmag.com JANUARY 2009 EQ 53 http://www.apple.com http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - January 2009

EQ Magazine - January 2009 Contents Talk Box Sounding Board Punch In Bob Dylan The Killers Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Microsoft Windows Vista Apple Mac OS X "Lite" Software Roundup "Lite" Software Gadgets & Goodies Sounds Room With a Vu

EQ Magazine - January 2009

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