If you want to set up multiple Macs to handle complex, processor-heavy audio tasks, or stream MIDI easily from one central computer to others that contains all your library sounds or CPU-hungry virtual instruments, it's now easier than ever before. Tiger's Dashboard is activated by pressing F12, and displays various Widgets you can move and arrange as you like for translating words, looking up words in a dictionary, checking the weather and more.
More Widgets can be added and many others can be downloaded from Apple and various third-party developers. So, if you want to know more about the background to these, you might want to check out this previous article. The audio and music-related abilities in OS X are represented by three different technologies: The Core prefix is adopted by the majority of OS X's frameworks that provide functionality such as audio and MIDI to applications — other examples introduced in Tiger include Core Data a data-modelling framework for providing database-like features and Core Image which is to image processing what Core Audio is to audio processing.
Finally, Audio Units is a format for developing audio instrument and effects plug-ins that work in compatible audio and music applications under OS X Apple's nomenclature, incidentally, is consistent — so plug-ins for image processing that work with the new Core Image format are called Image Units. Audio Units are equivalent to DirectX plug-ins in Windows, providing a non-application-specific format for audio plug-ins that means developers can produce one plug-in and have it work without alteration in applications from multiple vendors.
The first change you'll notice in the new version 2. Also on the subject of appearance, you'll notice that in keeping with other areas of Tiger, the various windows and sheets of AMS now contain lilac-coloured circular buttons with question marks to indicate there is help documentation available for this part of the program via OS X's Help Viewer. The Local name also appears in the Participants list on the transmitting Mac see the screengrab overleaf.
Core MIDI in Tiger takes the idea of sharing MIDI data between applications one step further with the addition of a Network device shown above , which makes it possible to send MIDI data between applications running on different Macs via a network — so long as each machine is running Tiger, of course. This feature has many possible uses, the most significant being the idea of using other Macs to run software instruments that can be played from your main sequencing application, either with hosts such as Steinberg's V-Stack or instruments that can run as stand-alone applications, like NI's Kontakt.
For me personally, this is usually the only reason I have a MIDI interface on a Pro Tools rig, so hopefully using the new MIDI networking facilities will enable yet more hardware to disappear from the studio. The configuration of a MIDI network is fairly easy.
The various settings in the 'My Sessions' pane are configured in the 'Session' pane on the right-hand side of the same window. You can also specify a Bonjour name for the Session, which is the name OS X's Bonjour service will use to publish that Session on your local network the default setting is that your computer's name from the Sharing Preferences Panel is used here. Underneath the 'My Sessions' pane is the Directory, which lists all the available Sessions you can join on your network, also listed by their Bonjour names.
Mac OS X Tiger: A Musician's Guide
The next step is to select a Session in the Directory from another computer on the network to connect with the Session you're currently setting up. If the connection is successful, the Session name from the Directory will be listed in the Participants list in the right-hand Session pane. At this point, you should have a functioning MIDI network. The neat thing is that if you have two other Macs participating in the same Session, both Macs will receive the same data from the 'master' Mac, which is useful for slaving multiple machines to the same timecode stream, or layering instruments from two computers playing the same music.
The latency of incoming MIDI data for a selected Session is plotted by red lines on the black Latency bar in the MIDI Network Setup window, and ideally you obviously want the latency of events to be as close to 0ms as possible. If you notice timing errors in the MIDI events that are sent across the network, you can set a number of milliseconds by which to offset incoming events to smooth out the timing errors by double-clicking in the 'Latency adj.
Entering a positive value will cause all incoming events from that Mac to be delayed by the given number of milliseconds. For example, if you want to play MIDI input from a keyboard and send this via a Session to another computer on the network but without running a sequencer like Logic, for example , you select the appropriate Session, and then, in the 'Live routings' section at the bottom right of the MIDI Network Setup window, you set the uppermost pop-up menu with the arrow pointing to the network symbol to the MIDI port to which you've connected your keyboard.
Alternatively, if you want MIDI output from a Session on the network to be output to a sound module, or some other hardware sound source, then again, you simply choose the appropriate Session and, in the lower pop-up menu in the bottom right of the window, select the MIDI port where the sound source is connected.
The receiving Mac Mini, from which the grab on the previous page was taken, is listed under Participants. Finally, if you have your Macs connected to a network that's populated by many other people's Macs, as in many larger studio environments , there are some permission controls you can exert by using the MIDI Network Setup's directory list. The host address must include a port number to identify a specific Session on the computer, since the computer could be hosting multiple Sessions, potentially with other Macs.
A neat side-effect of this is that because you can enter a specific host address in this sheet, it's even possible to add the address of a computer that's not even connected to your local network, and exchange MIDI data with another Mac somewhere else in the world! Once you've added the other Sessions to the Directory, you can control who connects to Sessions on your Mac by selecting an option from the 'Who may connect to me' pop-up menu below the Directory.
Setting this option to 'Anyone' will allow any other system to connect to a Session on that Mac, while selecting 'Only computers in my Directory' allows only those computers with the specified addresses and port numbers to connect to a Session. In this way, you can allow only a specific Mac to join a specific Session, blocking access to all other Sessions you might be hosting. Finally, you can set this permission option to 'No one', which doesn't allow anyone to connect to a Session on your Mac.
Networking in Core MIDI is definitely a great addition to Mac OS X, and the only slight disappointment is that there's no compatibility with Windows-based systems, which would be perfect for those who use Mac-based sequencers with computers running the Windows-only Gigastudio software. I guess Apple's idea is that everyone needs to swap to entirely Mac-based systems! It's possible both to upgrade existing versions of Mac OS X or install a clean version, either by archiving your previous System folder or by erasing your entire boot disc.
I tried both procedures and had no problem upgrading Macs running Panther to Tiger, with no obvious issues arising or lost data due to the upgrade.
While the upgrade might be the better option for general-purpose Mac computers, I still favour the clean install on dedicated audio and music systems. While wiping and starting again with your day-to-day computing needs is a pain, audio and music workstations tend to have less installed on them in the first place, so there is less to reinstall. And remember, many applications and certainly drivers will need upgrading for Tiger anyway, so why not get a completely clean system while you upgrade with a new OS, application version and drivers? Just remember to clone the disk when you're finished with a utility like Carbon Copy Cloner www.
Unless you plan on using your Mac in multiple languages or require fonts for Chinese, Korean, Arabic, and so on, you can save a considerable amount of space on your hard drive.
Generally speaking, I usually leave the family of printer I use myself, such as HP, and also leave the Gimp drivers required by some applications. In the end, my basic Tiger installation required just 1. After you've installed Tiger, and your Mac boots up for the first time running the new operating system, you'll need to enter the usual registration information and confirm various time, date and network settings. Users upgrading from a previous version of OS X will notice an Assistant appear so you can confirm your registration information, although it's possible to quit this Assistant application without completing the information if you wish.
After this, if you've performed an upgrade rather than a clean install, you might notice your hard drives spinning away rather feverishly; this is due to the new Spotlight feature that basically needs to index your drives before it can work. I didn't see a way of skipping this step, but you can check on the progress by clicking the Spotlight icon at the top right of the menu bar.
Spotlight can be useful, so your patience will be rewarded. Rather than providing this solution such that each application developer has to rewrite their software to support it individually, Apple have elegantly implemented a new type of audio device that can be created by users from the Audio MIDI Setup window: In computer science, a HAL is a software layer that's created between physical hardware and software running on a system, so that the software can talk to the hardware in a consistent way without having to know the specifics of the actual hardware device.
At the heart of Core Audio, a HAL is used so that no matter what audio hardware device is connected to your Mac and irrespective of its individual features, the device's Core Audio driver allows Core Audio to present the device to an application in exactly the same way as it would any other device. In other words, so long as an application supports Core Audio devices, it doesn't matter which Core Audio device you use: The upper list details the available Aggregate Devices, where you can create new or remove existing Devices, while in the lower part of the sheet you can configure the Structure of the currently selected Aggregate Device.
As their name suggests, Aggregate devices simply combine multiple audio devices connected to your Mac as if they were one virtual audio device. So if you have two audio devices connected to your Mac, each offering two inputs and two outputs, you can now create an Aggregate Device in AMS that combines these two devices into one device with four inputs and four outputs. Core Audio, thanks to the HAL, presents an Aggregate Device to an application as if it were any other audio device, so when you select the Aggregate Device in your application, the application essentially thinks it's talking to a device with four inputs and four outputs.
It's also possible for an application to know that it's talking to an Aggregate device, so that it can gather more information about the individual devices in the Aggregate for clocking and other properties, but the basic operation is exactly as described above. Similarly, you remove an Aggregate device by selecting it on this list and clicking the '-' button. It's worth noting that there's no warning when you do this, or any other way to bring back the Aggregate device afterwards other than by recreating it from scratch.
The structure or configuration of the currently selected Aggregate Device is shown in the lower part of the Aggregate Device Editor sheet and is a list of the audio hardware available to Core Audio see the screenshot above. To add audio devices to the Aggregate device, you click the Use tick box in the structure list for every audio device you want to include, and as you do this, you'll notice that the number of inputs and outputs changes for the Aggregate device listed in the top part of the sheet. Each Aggregate device uses one of the included hardware devices for a master clock source, and by default this is usually the clock Mac's built-in audio hardware.
However, you can change the clock source by simply clicking the Clock radio button in the structure list for the device whose clock you want to act as the master. If you run into problems with clocking Aggregate devices, you might notice that each device in the structure list also has a Resample option, which performs a sample-rate conversion at the current sample rate that effectively reclocks the incoming audio to the master clock. One of the neat things about Aggregate devices is that it's possible to create multiple Aggregates on the same system comprising different combinations of the audio devices attached to your computer, for different possible tasks.
Aggregate Devices can be selected in applications just the same as any other Audio Device, as you can see here in Apple's Logic Pro 7.
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At the top of the Audio Devices page in AMS is a section for System Settings where you can choose the audio devices used for the default audio Input and Output by Mac OS X applications that don't specifically let you set which audio devices to use, such as iTunes see the screenshot on page Logic Remote wirelessly connects your iOS device to your Mac and adds the power of Multi-Touch control to your performances and mixes. Control your mix from anywhere in the room with Multi-Touch faders to find the best sound. Using Drummer is like hiring a session drummer or collaborating with a highly skilled beat programmer.
Create organic-sounding acoustic drum tracks or electronic beats with the intelligent technology of Drummer. Watch the demo. Logic Pro X turns your Mac into a professional recording studio able to handle even the most demanding projects. Seamless punch recording. Automatic take management. As your song develops, Logic Pro X helps organize all your ideas and select the best ones.
Group related tracks, audition alternate versions, and consolidate multiple tracks.
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Create alternate versions of a track or multiple grouped tracks, and switch between them at any time to audition different options. Create, store, and select from different edits and arrangements of track regions to make it easier to experiment with various creative ideas. Click and drag to choose the best sections of each take to create a seamless comp, complete with transition-smoothing crossfades.
Consolidate multiple related tracks into a single track. For the adventurous, there's a lot you can add to your mixes with Virtual DJ. Support for recording your mixes is also available, which is a great way to learn, allowing you to analyze your mistakes and successes with the application. It also means you can record mixes for your friends!
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Mixes can be recorded in MP3 , burned to CD or even streamed to internet radio. Virtual DJ for Mac can be set up to use two sound cards, if you have them. Virtual DJ for Mac is accessible to beginners and packed with extra features. The downside of the software is that it sticks too much to what a physical DJ setup is - other programs offer four decks and more user-friendly interfaces - small knobs may be great for your fingers, but they're less use on a screen! On the whole, Virtual DJ for Mac is a solid, traditional-looking application.
You can showcase your very own mix without having to carry around expensive and bulky equipment.
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What do you think about Virtual DJ for Mac? Do you recommend it? With built-in ad blocker, battery saver, Messenger and extensions. Almost ready. To start the journey with Opera.