Jon Cohen is the UK’s leading producer of Classical Crossover music, having sold over three million albums and earning several classical number ones, nine BRIT nominations, a Grammy nomination and a Brit award for Best Classical Album. Jon’s work has included projects with Vanessa Mae, Faryl Smith, and recently, the world renowned Kenyan Boys Choir.  As part of the super remix team, Moto Blanco, Jon has worked on records by Mary J. Blige, Leona Lewis, Lady Gaga, Janet Jackson, George Michael and many more.

Love at First Touch
I love the Euphonix Artist Series. Once I’d got used to not reaching for the mouse, I found that my workflow was quicker and more efficient. The problem with mixing in the box with a mouse is that you can only do one thing at a time. With my MC Control and MC Mixes, I can have one hand on a couple of faders and another hand on an FX return or group fader.

Then I got into assigning layouts and custom macros and it just took off! And having hands on access to plug-in parameters at the touch of a knob is so much more intuitive than using a mouse – I now find myself trying ideas that I wouldn’t have thought of before. I love the ability to flip the faders. This is really great for automating sends or filters and setting up cue mixes.

Powerful Yet Simple
Setup was so simple and it really does work straight away. No complicated configuration is required for Logic. The Eucon integration is very deep and there’s almost nothing you can do in Logic that the Artist Series doesn’t understand. The build quality is excellent, and I love the bright, clear LEDs which provide all the info I need. I honestly don’t see myself going back.

I also have the Eucon software on my laptop, and when I leave my studio, I often take the laptop and one MC Mix unit for a very mobile pro setup. I used to mix everything I did on a large SSL but with the Artist Series, mixing in the box has now moved to the next level.

Jon Cohen Projects

Vanessa Mae, Faryl Smith, Kenyan Boys Choir, Mary J Blige, Lady Gaga, Leona Lewis, and many more

Software Apps:

Logic Pro & Pro Tools LE

Other stuff:

3 MC Mixes, 1 MC Control, Logic Studio, Pro Tools LE, Mac Pro 8 Quad 3GHz, TC Studio Konnekt 48, M-Audio FW410, UAD Quad, SSL Duende PCIe, Waves plug-ins, Vienna Sample Library, Focal Twin 6

Music workstation suite adds flexible audio, improved editing and live performance, simulated amps and effects

by Peter Kirn, Macworld.com

Digital music workstation software can include an encyclopedic array of functionality. But when it comes to using these tools creatively in music making, a few details and the way they fit together can make a huge difference.

PROS
Flex Time and editing improvements make manipulating recorded audio more satisfying; MainStage 2 is a more complete live performance solution; lots of amp and effects goodies; many subtle usability tweaks.

CONS
MainStage’s looper can’t set a tempo from a first loop; Some tasks require switching between Flex Time Markers and Transient Markers; MIDI editing and some add-ons due for a refresh.

[Updated with graphic content courtesy of Propellerhead] Record companies love to mewl about listeners downloading and sharing digital music, and that has presented them with a challenge to their thinking and way of doing business that they deeply deserve. It’s an important topic for a later post, but what I see as the fundamental issue is that the large entertainment conglomerates have confused the medium with the message; they thought that they have been selling music, when what they have actually been trying to sell is CDs. Their business model has been based around a massive hit single, perhaps two, so a disc would have those few tracks which were competent from conception to execution and the musical equivalent of excelsior to fill out a running time of sufficient length for the company to justify charging $20. Listeners, interested in the music more than the package, were champing at the bit to be able to isolate the few songs they did want to hear from the insulting crap that they had been compelled to buy. If the record companies had been more interested in the music rather than the units, perhaps they would have been in position to reap the economic benefits of file sharing and iTunes. It still seems they’ll never figure it out – but again, much more on this to come in later posts.
Another aspect of the development of affordable digital technology which has wreaked perhaps as much havoc with the companies, but with a stiletto rather than a sledgehammer, has been the spread of Digital Audio Workstation (DAW) technology. With a sufficiently powerful computer – a laptop nowadays – an interface that connects audio microphones to the computer and a software package, any musician can make a recording pretty much anywhere and do so with as professional a set of production values as the finest and most expensive studios. The most well-known of these packages is Pro Tools, and it’s accomplished competitors are Ableton Live, Apple’s Logic and Propellerhead Reason, and with them musicians have been able to liberate themselves from the record companies while consumers have simultaneously been liberating the music. The neo-sharecropper system of advancing a band cash against which to mark the entire cost of record production, especially studio time, has been effectively demolished. But it’s an ‘inside’ aspect of the business of making and selling music, so there’s been no popular coverage, and since it’s also a story of professionals taking possession of the fruits of their own skills and labor, it’s a change that the spreadsheet jockeys at the corporations have been helpless to even comprehend.

The power of these application is immense, and while there is overlap between them, each has characteristic architecture which sets it apart from the others. Pro Tools is perhaps the recording and record making application of choice for bands, but it until recently was limited by a proprietary structure that isolated its output from other platforms and uses, as well as a weak set of electronic instruments. Ableton has a loop-based structure which makes it ideal for experimentation and performance, but it does require some rethinking to make pop music with and also has a mixed bag of instruments. Logic, especially in the tremendous Studio package, is a do everything workhorse that comes closest to turning the computer into a top-of-the-line recording studio, but it doesn’t have the same creative flexibility as Live and is more difficult to master. Reason is a bit of a brilliant odd-ball, one that specifically limits itself to computer-based music production without any ability to record audio – which is what is done in a recording studio and which other DAWs support – and with a structural conception rooted in the seemingly ancient world of analog production. Reason’s interface is not only stunning and fascinating, it is the guiding principal behind how the application works. To make music, one selects devices such as synthesizers and signal processors and puts them into an image of the type of metal rack in which those magic boxes would installed in a recording studio. Flip around the rack, and the patch-cord connection between the devices is revealed and available for alteration. This analog approach flows through the devices, which emulate proven and wonderful studio instruments such as the Oberheim Matrix synthesizer (Reason’s incredible Thor instrument, arguably the finest software synthesizer available), vocoders, voltage control arpeggiators and distortion boxes. Reason looks great and sounds better. To further its idiosyncratic conception, Reason lacks support for plug-ins (third party sound producing or signal processing applications). Reason makes music its own, powerful way, but only its own, self-contained way.

Now, Propellerhead have produced a companion application dedicated to audio recording, and simply called Record (available as of September 9). Just as Reason is entirely dedicated to electronic music production, Record is dedicated to audio recording. For the musician, Record is designed to enable them to record and produce music, and for Propellerhead, it’s designed to sell competitively against other DAWs. These boil down to the same question, should musicians buy it?

For musicians who already use Reason and have been making do with porting their Reason production into another platform in which they can record audio, the answer is an immediate yes. The gain in workflow efficiency itself is reason enough, but what Record does that makes it especially essential for Reason users is integrate completely and seamlessly into Reason. If the applications are installed on the same computer they cannot be open simultaneously, but if Record ‘sees’ Reason once the former is launched, or if it is pointed to Reason at setup, every device, feature and command in Reason is available in Record (as a stand-alone, Record has Reason’s effects devices, but none of the synthesizers, replacing them with the ID8 sound module which is useful for sketching music and create place-holding parts but inadequate for any kind of finished recording). The package has a different name and icon, but working with Record is identical to working with Reason, except the user can record audio tracks as well. This also means that Reason users will be able to start using Record almost immediately, which is also a testament to how well-designed the package is.

For the rest who may want to produce music and who do not use Reason (and who may or may not use another DAW), the question of whether this is something worth buying is more complex. Record, like Reason, is a specifically dedicated application which plays with others through the protocol ReWire but which is designed as if it not only had no peers but also as if digital processing had never been invented. This is actually one of its great strengths. Propellerhead produces software based in the ways people have been making music for decades, so the interface is the best of any software product in existence – rather than reverse-engineering from an engineers code to a (barely) functional interface, the user sees transport controls similar to those of a multi-track analog tape recording, a rack very much like one they may have installed themselves, and a mixing board with controls and signal routing options that will be immediately identifiable to anyone who has ever used a multi-channel mixer. Getting started is as easy as plugging in a mic or a guitar, setting the time signature and tempo in the transport controls (odd numbered meters are supported, but there is no ability to tap a tempo and have the application ‘read’ the input), pressing record and playing. For simply getting tracks onto a hard drive out of the box, Record is unsurpassed. Musicians can also record multiple takes, or ‘lanes’, in the same instrumental track and edit them later into one master track.

Editing audio recordings, what the application calls ‘clips,’ is a necessity in any recording environment, and Record’s editing features deserve special attention. There is an edit mode for clips (MIDI as well as audio), and simple, functional ways to perform basic edits like fading a clip in and out, shortening a clip, selecting a portion of it, moving it back and forth on the time line, etc. What’s vital for the recording studio emulation is the ability to produce that one master track from edits. Record lays out multiple takes in a set of rows, and supports cross-fading from one row to another. There are standard editing tools for listening, selecting, moving, cutting segments, copying, pasting, adding silence, adjusting levels and spacing. This is the digital equivalent of splicing magnetic tape with a razor blade, and is up to snuff as in other applications. Serious, creative and/or experimental audio editing is not effectively supported by any DAW and is best done in dedicated applications likes Amadeus Pro. What DAWs do make possible that tape could never handle is stretching the time of an audio recording; running the clip at faster or slower speeds with no alteration in pitch or timbre. Record handles this easily as well, if not better, than any other DAW, although the actual recorded events on a clip may produce digital artifacts, for instance a clip that has been slowed may reveal a glitch that would have been hidden at its original tempo.

Where Record really shines is in its mixer, modeled after classic SSL models. The number of tracks supported is limited only by processing power, and there are ways to mix down multiple tracks to spare both power and hard drive space. Most important is the intuitive ease of use here, and anyone who has ever twirled knobs and pushed faders on a hardware mixing will need no instruction. The signal path on each channel is clear, and each channel features effective dynamics, EQ and compressor/limiter processing, sparing, if desired, use of those same devices as effects. Loading insert effects onto the channel is identical to opening a file in almost every other contemporary application, and pointing channel signals to effects that have been mounted in the application’s rack is just as simple. Whether recording live audio in real time or mixing previously recorded tracks, this is the easiest mixer in any DAW.

The strengths of the application seem to flow directly from the design concept, where everything appears to the eye in a way that indicates what it does and how it’s used, and for getting music down and together Record is productive at a very high level right out of the box. It’s easier to use than even Garageband, and is far more powerful and it performs its goals superbly. Sound quality is flawless, ergonomic operation is sure and the beta-testing package was more stable than most retail releases; it crashed once and exhibited a few minor flows, nothing more. Record does not have the features of Logic or Live, but it’s output can be routed to those applications via ReWire for further processing. Of course, it’s not free, and value is an important consideration along with capability. For Reason users, this is a $149 cross-grade and is self-recommending at that price. Without the companion software, Record has a $299 price-tag, neither cheap nor expensive. For musicians with home recording studios and venues making live recordings, the application is ideal and well worth the price; the power and ease mean that no recording engineer is needed to make excellent recordings. But those who need more electronic processing, or who are mainly producing electronic music and have only a small need for audio will probably not find value in Record (limited versions of other DAWs, which combine recording and electronics, include Logic Express for $199, Ableton Live LE at $119 downloaded, and Pro Tools LE for $149). For those who are new to both and want a Reason/Record bundle, Propellerhead is offering that for $629, a 22% discount. That’s a decision which requires a musician to have a clear idea of what they want to accomplish and what tools they will need, as the Reason package is so unique; if the most important thing is recording audio, Record is superior to any other DAW, but if one would like a mix of audio and electronic production, the choice is more complex and is determined by the goal; if the main use is for performance, Ableton is preferable, Logic is ideal for large-scale, commercial production, a band wanting to make and record music should take a long look at Record and Reason. For anyone interested, the applications can be downloaded and run on a demo basis, although caution may be in order, as they are both a joy to use, with Record being a special ease, and may be totally addicting.

This is a continuation. Please refer to “Logic Studio Day 1!” for a recap.

Still waiting to receive my Snow Leopard update so today I will just go through some of the tutorials and owner manual. The owner’s manual is in book form which is nice and there are some tutorials on the Apple site. http://www.apple.com/logicstudio/how-to/

I also found an interesting set of tutorials from Olav Basoski
http://www.macprovideo.com/tutorial/prodElectro

Hi Folks,

I am posting this the same day because I didn’t have a word press account until now.

This is a continuation. Please refer to “Logic Studio Day 1!” for a recap.

Real bummer. I just realized my Macbook is not up to the requirements. It’s a simple upgrade to OSX Snow Leopard for $29. Learned that it is not necessary to have Leopard to take advantage of the Snow Leopard upgrade for $29. I’m kind of upset with Apple for keeping this a secret. My friend Matt pointed me to this article http://lifehacker.com/5347086/confirmed-29-snow-leopard-installs-whether-or-not-youve-got-leopard

I almost spent $98 on a Leopard upgrade!

SO… Tiger to Snow Leopard upgrade on the way.

My friend at Apple just sent me an NFR of Logic Studio so thought I’d blog about the experience.

Today is Day 1. Just received the box. It’s much smaller than I had expected but Apple tends to keep their product compact so makes sense. Back in the day Logic Audio by Emagic was a very unique and powerful DAW with a very steep learning curve. The environments were highly flexible and customizable. They often took a while to configure but well worth the time invested.

My first encounter with Logic Audio: I was working at zZounds Music Discovery Center on North Ave in Chicago the summer of 1996. zZounds was a little mom and pop music store (one of the last in Chicago before the Guitar Center and Sam Ash corporate take over). We sold some of the most cutting edge music technology including the Midi Theremin and the Moog/Vankoevring Digtial touch screen Piano. The software selection was vast and included some all of the very first virtual synths. This is were I was first introduced to Logic Audio.

I’m going to make some tea now and I have to finished rexing some Techno loops. Will be back with more Logic Studio when time permits. Next I’ll actually open the box and install the software :]

PEACEOUT

Got around to opening the box and there are 9 installation and content CDs in total.

Impreza odbędzie się w dniach 11 i 12 września. Organizatorem jest iSource, warsztaty prowadzić będą m.in John Moores i Sydney Polak. Udział w imprezie jest bezpłatny. Szczegółowy plan i formularz rejestracyjny dostępne są na stronie organizatora.

just got back from a fun night in the studio. i’m telling you, i can mess around with logic studio ALL DAY!

anyway, it’s 1am which means that it’s August 25, which also means Ingrid Michaelson’s new record “Everybody” is available!!! that’s right, ms. michaelson has graced us with another prodigious record. YAY FOR US because all the songs are just AMAZING. and another YAY FOR US because it’s available at most major retailers (i.e. barnes and nobles, borders,target, and maybe some independent record stores)

every song on this record is just breath taking. ingrid is definitely one of my idols!! (that is very obvious b/c i cover A LOT of her songs on my youtube.)

so tonight, to celebrate “Everybody Day,” the song is….

Ingrid Michaelson – Maybe

purchase this record and the music video for this track on iTunes.

for special packages (i.e. signed record w/ a shirt,tote, and stickers) visit Ingrid Michaelson’s “Everybody” Shop

HURRY GO!!!!

’till we meet again…

—goodnight—

p.s. if you want to watch my cover of Ingrid’s song “Maybe” click HERE

—for any of my other Ingrid covers or any of my vids check out my channel: http://www.youtube.com/stefieannmusic

apple * logic pro 9

With over 200 new features and enhancements, the new Logic Studio delivers everything musicians need to write, record, produce, and perform on a Mac. Be a musician. Sound like an engineer!

It includes Logic Pro 9, Apple’s professional music application; a massive collection of instruments, effects, and audio loops; MainStage 2 for performing live on the stage; and other applications and utilities that help you create, personalize, and distribute your music.

With over 200 new features and enhancements, the new Apple Logic Studio delivers everything musicians need to write, record, produce, and perform on a Mac. The center of Logic Studio is Logic Pro 9, which makes it easier than ever to create your own compositions.

Produce and play nearly any sound imaginable with a huge collection of effects, instruments, and loops, including the new Amp Designer and Pedalboard plug-ins. Use MainStage 2 to perform live with the instruments, amps, effects, and sounds you used to make your tracks. Logic Studio also comes with applications and utilities that expand your creative options into audio post-production and mastering, including Soundtrack Pro 3, WaveBurner 1.6, and more.

Top Features

• Everything musicians need to write, record, produce, and perform on a Mac 
• Logic Pro 9 for do-it-yourself musicians to write, edit, record, and mix their own compositions 
• More than 80 studio-quality effect plug-ins, including vintage and modern compressors, delays, reverbs, and more 
• New Amp Designer to help you re-create the sound of 25 legendary amps and 25 speaker cabinets 
• New Pedalboard with an assortment of 30 virtual stompbox pedals inspired by the classics 
• 20,000 royalty-free Apple Loops from all the Jam Pack collections 
• MainStage 2 for performing live with the instruments, amps, effects, and sounds from Logic Pro 9 
• Soundtrack Pro 3, a streamlined audio post-production application for film and video

Palm "fixes" iTunes sync

• Apple Has 91% Revenue Share of Premium Market: http://bit.ly/1q3biw
• Palm Updates Palm Pre WebOS Software, “Fixes” iTunes Bork: http://bit.ly/w4pSQ
• After Apple Legal Threats, Microsoft Quietly Changes Ads: http://bit.ly/1mNjm
• Despite Foxconn Troubles, Apple “Unlikely” to Change Supplier: http://bit.ly/18G0cE
• webOS Update Re-Enables iTunes Sync on Palm Pre: http://bit.ly/sobP4
• Apple’s Much-Anticipated Tablet Device Coming Early Next Year: http://bit.ly/44LOiH
• As AT&T Gains on Verizon, CEO Says Exclusive iPhone Fleeting: http://bit.ly/15gMnD
• Apple Releases ProKit 5.0 Update: http://bit.ly/sh5DL
• iPhone Security: Not Beefy Enough For Businesses? http://bit.ly/SVC6t
• Creativity Through Collaboration: http://bit.ly/WSUr6
• AT&T CEO: Exclusive iPhone Deal Won’t Last Forever: http://bit.ly/1KFFtE
• The Packaging for Final Cut Studio and Logic Studio Has Been Shrunk: http://bit.ly/3tJhw
• Appleinsider: Apple Tablet Finally Coming Next Year: http://bit.ly/GMYT5

Have I missed anything? Leave a comment!

Remember to follow the Apple Guru on Twitter!

App Store to sport new look in the future?

• Apple App Store to Sport New Look? http://bit.ly/y6amE
• Group Will Push Open Source in US Government: http://bit.ly/VUN12
• Wi-Fi Group’s Basic Test Won’t Change With Final 11n: http://bit.ly/CSK9n
• Apple Updates Final Cut Studio With More Than 100 New Features: http://bit.ly/6nYqj
• Apple Introduces New Logic Studio: http://bit.ly/2RD5X
• AT&T Net Income Down 15 Percent: http://bit.ly/YlHTR
• Premium-Priced Computer Market Dominated by Apple: http://bit.ly/fM1h
• FontGear Releases FontGenius: http://bit.ly/1a6JJD
• App Store Pick of the Week: Shakespeare: http://bit.ly/cBUgQ
• Apple iPhone a Boost for AT&T in Second Quarter: http://bit.ly/9gvnX
• Numerous 3rd Party Case Photos Suggest iPod Cameras Coming: http://bit.ly/yrXHM
• Mac News Briefs: MacProVideo.com Adds Updated Final Cut Tutorials: http://bit.ly/ZiGYQ
• Google Latitude for iPhone Arrives as Web App: http://bit.ly/AE0I1
• Microsoft Suffers Worst Fiscal Year Ever While Apple Rises: http://bit.ly/mORvw
• Palm Fires Back at Apple, Fixes Pre Sync With iTunes: http://bit.ly/dO0tn
• Google Navigates Latitude for iPhone Around Background Limits: http://bit.ly/pAMSA
• Apple iPhone Dominates Mobile Web Usage: http://bit.ly/FDJiX
• Palm Releases webOS 1.1 and Fixes iTunes Syncing Problem: http://bit.ly/QzmKo
• Apple iPhone Dominates Mobile Web Usage: http://bit.ly/FDJiX
• Rumor: Chinese Manufacturers Building Cases With Camera Holes for Next Generation iPod Touch and iPod Nano: http://bit.ly/125YyK

Have I missed anything? Leave a comment!

Remember to follow the Apple Guru on Twitter!

Apple today released updates to its professional video and audio editing applications: Final Cut Studio, Final Cut Server, and Logic Studio.

The revised Final Cut Studio brings over 100 new features to the application suite including new versions of nearly every component application and is priced at $999, a $300 discount over the previous version.

Apple today announced a significant update to Final Cut Studio with more than 100 new features and new versions of Final Cut Pro, Motion, Soundtrack Pro, Color and Compressor. Final Cut Studio features Final Cut Pro 7 which expands Apple’s ProRes codec family to support virtually any workflow and includes Easy Export for one step output to a variety of formats and iChat Theater support for real-time collaboration. Motion 4 includes enhanced tools such as 3D shadows, reflections and depth of field for stunning motion graphics and visual effects, and Soundtrack Pro 3 features new multitrack audio tools to streamline audio post production. Color 1.5 includes better Final Cut Pro integration and support for full color resolution, and Compressor 3.5 adds new features that make it easy to set up and customize your export options. At $999, the new Final Cut Studio is $300 less than the previous release and is also available as an upgrade for just $299.

Apple also introduced Final Cut Server 1.5, offering a number of new features for Apple’s media management companion to Final Cut Pro. The new version includes unlimited licenses for $999, and existing Final Cut Server users can upgrade for $299.

The updated Logic Studio package brings significant revisions to Apple’s flagship audio application suite, bringing major changes to Logic Pro and MainStage and incorporating over 200 new features.

Apple today unveiled the next version of Logic Studio with major upgrades to Logic Pro and MainStage and more than 200 new features that simplify complex tasks. Logic Pro 9 features new Amp Designer and Pedalboard plug-ins that provide realistic virtual guitar amps and stompbox effects to create amazing custom guitar rigs. A new set of Flex Time tools allow Logic users to manipulate the timing and tempo of audio quickly and easily. MainStage 2, Apple’s live performance application, includes the new Playback and Loopback plug-ins to provide backing tracks and creative, real-time loop recording for performing on stage. Logic Studio also includes the new Soundtrack Pro 3, with new multitrack audio tools for video production, and Compressor 3.5 for encoding in a variety of formats.

Logic Studio is priced at $499, and existing users can upgrade for $199. Apple will also be releasing an updated version of Logic Express, a slimmed-down version of Logic targeted at GarageBand users looking for additional tools, in August for $199.

Written by Eric Slivka

Lange erwartet und nun still und heimlich Realität geworden: Ein Update für die beiden Pro-Programme aus dem Hause Apple – Final Cut Studio und Logic Studio. Während Final Cut sich mit der professionellen Produktion von Filmen auseinandersetzt, besteht der Hauptaugenmerk von Logic Studio bei der perfekten Abmischung eines neuen Songs oder Soundtracks.

Die neue Version verfügt nun über eine erweiterte ProRes-Code-Familie von Apple, die sich positiv  beim Workflow bemerkbar macht. So bietet sich ProRes Proxy für offline und mobilen Einsatz mit geringer Bandbreite an. ProRes LT ist für universelles Schneiden geeignet und Pro Res 4444 für Bearbeitung und Effekte in bestmöglicher Qualität. Eine Neuerung namens “Easy Export” ermöglicht die Ausgabe in eine Vielzahl von Formaten auf einfache Art und Weise.

Viele Anwender wird es freuen zu hören, dass das Rendering nun im Hintergrund stattfindet und so gleichzeitig am Projekt weitergearbeitet werden kann. Dazu gehört auch die Unterstützung von iChat-Theater zur Echtzeit-Zusammenarbeit insofern eine schnelle Internetverbindung vorhanden ist. Speed-Tools erlauben die Geschwindigkeit der Clips schnell und einfach zu editieren. Mit dabei sind auch Alpha-Übergänge, dramatische Effekte via beweglicher Oberfläche, native AVC-Intra-Unterstützung für die aktuellen, hochwertigen Kameras von Panasonic.

Motion 4 wurde mit verbesserten Werkzeugen wie 3D-Schatten, Reflektionen sowie Tiefenschärfe ausgerüstet.

Mehrspurige Audiotools für eine effizientere Erstellung und Bearbeitung von Audio-Postproduktionen, wie z.B. Voice Level Match. So extrahiert dieses Tool die Lautstärkeinformationen des Vokalen-Inhalts eines Clips und überträgt diese auf einen anderen ohne deren Audioinhalte zu verändern. Dadurch kann der jeweilige Bearbeiter die abweichenden Lautstärkeverhältnisse bei Stimmen einfach korrigieren.

Color 1.5 wurde besser in Final Cut integriert und bietet nun eine Full Color-Auflösung. Der neue 4K-Support arbeitet nativ mit Daten von Kameras wie der RED ONE und ermöglicht eine direkte Ausgabe auf ProRes für HD oder DPX für Film. Die erweiterte Unterstützung in High-Quality-Formate wie AVC-Intra, XDCAM 422 und Pro Ress 4444 ermöglicht Farbkorrekturen mit maximalen Umfang an Farbinformationen.

Mit Compressor 3.5 erhält der Anwender neue Eigenschaften, mit denen eigene Export-Optionen aufgesetzt und angepasst werden können. In wie weit Compressor jedoch in Puncto Geschwindigkeit den Konkurrenzprodukten hinterher hinkt ist noch nicht bekannt – offenbar wurde die Renderengine nicht überarbeitet.

Zu einem Preis von 999 Euro ist die neue Final Cut Studio Version 300 Euro günstiger als die Vorgänger-Version und ist auch als Update für 299 Euro erhältlich. Die Suite wird ab sofort ausgeliefert. Apple bietet auch eine Online-Broschüre an, in der die einzelnen Funktionen noch mal erläutert werden.

In Logic Pro 9 finden sie neue Plug-Ins Amp Designer und Pedalboard vor, die virtuelle Gitarrenverstärker und Stompbox-Effekte bieten, mit denen sich individuelle Gitarren-Rigs kreieren lassen. Eine neue Palette an Flex Time – Werkzeugen ermöglicht es Nutzern, Timing und Tempo von Audiomaterial schnell zu verändern. So können individuelle Beats in einer Wellenform unkompliziert mit einem Mausklick verschoben werden. Lästiges Schneiden entfällt somit. Audio Quantize kann sofort durch Selektion eines einzelnen Menüpunkts das Timing einer gesamten Performance anpassen und ausbessern, in dem es die Noten und Beats an einem Musikalischen Gitter ausrichtet.

MainStage 2 enthält neue Playback- und Loopback Plug-Ins. Mit dem Playback-Plug-In können Begleitspuren bereitgestellt werden und ermöglicht so mit dem Loopack Plug-In kreative Echzeit-Recordings für den Live-Auftritt auf der Bühne. So wird es Musikern ermöglicht, Tracks auf Basis der eigenen Performance aufzunehmen, zu “schichten”, und dazu zu jammen. So kann ein Musiker zunächst einen Rythmus aufnehmen und anschließend darüber sein Solo spielen. In Logic Studio ist ebenfalls Soundtrack Pro 3 sowie Compressor 3.5 enthalten.

Die deutschen Versionen von Logic Studio werden im September für 499 Euro angeboten. Das Upgrade kostet 199 Euro.

Apple has released a new Final Cut Studio (with over 100 new features), Final Cut Server 1.5, and a new Logic Studio.

Final Cut Studio New Price: $999

“Apple today announced a significant update to Final Cut Studio with more than 100 new features and new versions of Final Cut Pro, Motion, Soundtrack Pro, Color and Compressor. Final Cut Studio features Final Cut Pro 7 which expands Apple’s ProRes codec family to support virtually any workflow and includes Easy Export for one step output to a variety of formats and iChat Theater support for real-time collaboration. Motion 4 includes enhanced tools such as 3D shadows, reflections and depth of field for stunning motion graphics and visual effects, and Soundtrack Pro 3 features new multitrack audio tools to streamline audio post production. Color 1.5 includes better Final Cut Pro integration and support for full color resolution, and Compressor 3.5 adds new features that make it easy to set up and customize your export options. At $999, the new Final Cut Studio is $300 less than the previous release and is also available as an upgrade for just $299.”

Final Cut Server Price for Upgrade: $299

Final Cut Server Price Overall: $999

Logic Studio Price: $499, and upgrade for $199

Logic Express Price: $199

“Apple today unveiled the next version of Logic Studio with major upgrades to Logic Pro and MainStage and more than 200 new features that simplify complex tasks. Logic Pro 9 features new Amp Designer and Pedalboard plug-ins that provide realistic virtual guitar amps and stompbox effects to create amazing custom guitar rigs. A new set of Flex Time tools allow Logic users to manipulate the timing and tempo of audio quickly and easily. MainStage 2, Apple’s live performance application, includes the new Playback and Loopback plug-ins to provide backing tracks and creative, real-time loop recording for performing on stage. Logic Studio also includes the new Soundtrack Pro 3, with new multitrack audio tools for video production, and Compressor 3.5 for encoding in a variety of formats.”

Thanks to MacRumors

Today, Apple (s aapl) released a huge update for its Pro series of audio/video editing applications, including both the Final Cut and Logic Studio suites of applications. People (and businesses) who need the extra muscle of Pro applications (as compared with the iLife suite, for example) will be happy to note that with this latest update, Apple has dropped the price for Final Cut Studio by a very respectable $300, from $1,299 to $999 for the full studio package, or $299 for existing users to upgrade.

Final Cut Studio

Final Cut Studio includes Final Cut Pro 7, Motion 4, Soundtrack Pro 3, Color 1.5, Compressor 3.5 and DVD Studio Pro 4. While all of the applications included in the suite received an upgrade, Final Cut Pro bears the most significant changes over its previous iteration.

New features include iChat Theater support, so that you can actually edit collaboratively in real-time while working remotely. It’s a great way for Apple to leverage existing tools in an innovative way to provide a truly useful function for people editing media, since collaborators don’t even need to have Final Cut installed. There are also new Change Speed and Share windows, which give you better control over video speed changes and the ability to preview your content when exporting for web, Blu-ray or Apple devices.

There are also new and improved versions of Apple’s ProRes codec. ProRes 422 (Proxy) helps with offline editing; ProRes 422 (LT) provides broadcast quality at reduced sizes; and ProRes 4444 gives you the highest quality possible for editing.

Motion 4 now allows you to add light sources to cast reflections and shadows on any surface, and offers new text, tilting, and depth of field tools. Color 1.5 should now work with a wider range of effects, and includes native support for RED ONE camera files. Compressor 3.5 now has Job Action features to make it easier to export to open and export a file to various destinations and work with Automator workflows. Finally, Soundtrack Pro 3 brings new tools like Advanced Time Stretch which boasts all-new audio stretch and compress algorithms, and Voice Level Match, which matches volume from the vocals of one clip to another.

Logic Studio

Logic Studio comes in at a respectable $499, and includes both Soundtrack Pro 3 and Compressor 3.5, mentioned above, in addition to Logic Pro 9, MainStage 2, and WaveBurner 1.6. It also ships with all six Apple Jam Pack loop sets and tons of bundled plug-ins, instruments and effects. Current Logic Studio or Logic Pro users can upgrade for $199, while those with Logic Express will have to pay a heftier $299.

Logic Studio brings a lot of new stuff to the table, with over 200 new features. Some highlights include the new Amp Designer amp modeling software, which comes with 25 amps, 25 cabinets, and three mics to allow users to customize the sound of their guitar tone, which was lacking in Guitar Amp Pro, their previous modeling software. Pedalboard works with Amp Designer to bring 30 stompbox effects, which can be arranged on a virtual pedalboard.

Flex Time, a new feature for Logic Pro, allows you to manipulate timing so that if one of your tracks (or part of the track) is slightly off with the others, it’s much easier to drag the affected area to try to correct the timing, and Logic Pro will compress or expand the areas nearby to accommodate the change.

Early impressions from Apple Pro users at Macworld and CNET seem to indicate that many of the changes introduced with the new versions make working with audio and video significantly easier than in previous installments. Apple really has put the focus squarely on usability improvements this time around, and it shows. Both suites are available immediately from Apple’s web site.

This little TV Ident was a test, i’m considering to switch to Cinema 4D. This is created with Cinema 4D, Adobe After Effects and the sound design is done in Apple Logic Studio. Watch the little animation here.

Generative Music With Logic Pro Part 3 [Premium]

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