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iTunes Store Approaching 10 Billion Downloads!

Wednesday, February 24th, 2010 | Author: OWC Michael

Apple has had some impressive milestones when it comes to their iTunes Store:

100 million songs sold: Summer, 2004

250 million songs sold: January 24, 2005

1 billion songs sold: February 23, 2006

5 billion songs sold: June 19, 2008

10 billion songs sold: Fast approaching!

Apple has started a countdown to the 10 billionth song downloaded and that lucky downloader could win a $10,000 iTunes Gift Card!  At the current rate of download it looks like that milestone could very well be crossed this afternoon or tonight!

If you’ve been putting off your purchase, this may be a perfect time to get that new song or album!

For official rules and to watch the countdown in action visit http://www.apple.com/itunes/10-billion-song-countdown/

Making Music Without An ExpressCard

Wednesday, July 29th, 2009 | Author: OWC Rick

Can’t always get what you want…

In an earlier post, we discussed the removal of the ExpressCard/34 slot from the 15″ MacBook Pro and the implications of that loss:http://blog.macsales.com/1391-apple-giveth-apple-taketh-away

As music production becomes more commonplace outside of the studio walls, musicians have become more and more dependent on the power and portability of the notebook.  It’s this need for a high performance machine that has made the MacBook Pro a staple for creative professionals.  Up until recently, increased features have been packed into these machines.  However, it seems that some of the features we’ve all come to know and love have been taken away from the most recent additions of the MBP product line -namely the second FireWire bus and expansion capabilities of the ExpressCard slot.  So, before we start crying “the sky is falling,” we need to answer three very important questions:

  1. What have we lost?
  2. What do we need?
  3. What do we have?

We’ve lost expandability, we need sufficient bandwidth for our work flow, and we DO in fact have just that.

…but if you try sometimes…

All we have to do is re-assess our storage and interface requirements.  When recording music, you have to remember that audio data is substantially smaller than video.  Therefore, the bandwidth provided by FireWire 400 or USB 2.0 speeds is more than sufficient for most.  So what’s the bottom line?  You have two practical configurations for your new 15″ MacBook Pro:

  1. USB 2.0 Audio Interface and FW 800 (or 400) External HD
  2. FireWire 400 Audio Interface and FireWire 400 External HD (daisy chained)

…you get what you need.

In looking at the two configurations above, there is a method to the madness.  Option #1 gives you more bandwidth for your external hard drive, which can be useful for projects utilizing MIDI & virtual instrument libraries that require more resources for disk streaming.  Being a musician myself, I completely understand the hesitation involved when “USB” is mentioned.  In the past, USB has always been considered “the slow interface.” It’s because of this that I will mention that the new MBP’s have been bench-marked having much higher “real world” throughput than earlier models.  Therefore, you will see little to no performance loss when using a USB audio interface as opposed to FireWire.  So, you can think of Option #1 as your “MIDI Workstation” scenario.

Option #2 allows you to still keep a useful FW400 speed for your external HD, while using a FW400 audio interface (note: when daisy chaining a FW400 device with a FW800 device, both devices will be functioning at a FW400 speed). Currently, most audio interfaces that utilize a FireWire connection are FW400 so you’re not losing any performance on that end.  The benefit of these interfaces are that they are typically built to  handle more simultaneous audio input for multi-tracking than their USB counterparts.  You can think of Option #2 as your “portable live audio recording scenario.”

This takes care of our USB and FireWire issues, but what about the loss of other potential ExpressCard expansions?  Some companies have developed ExpressCard upgrades for audio professionals that use their laptops in a production setting.  Are these upgrades and expansions worthless now?  Absolutely not!  However, if you need to utilize these professional additions you’ll need to purchase the new 17″ MacBook Pro which still provides the user with an ExpressCard slot.  For those of you that don’t want to lug a monstrous 17″ notebook around, your only other alternative is to purchase an earlier version of the MacBook Pro which are still incredibly viable machines for audio/music professionals.

Mr. Jobs and the gang threw us quite a curve ball with this recent feature loss, but have no fear!  OWC is here to light the way through these murky waters of change to help you audio professionals get the most out of your hardware.  You can still make music without an ExpressCard!

Having trouble getting a pro vocal sound in your home studio?

Thursday, February 26th, 2009 | Author: OWC Rick

One of the most under-appreciated problems in home recording is the sound of your room.  Ever record a vocal track in your home studio (typically a bedroom or basement) and despite the great vocal performance, great preamps, and top of the line microphone, the track still doesn’t sit in the mix right?  We’ve all had the problem where the vocal track doesn’t sound like 99% of the professional recordings we’ve heard on the radio -leaving us scratching our head and asking ourselves “Why?”.  And where most people will blame their microphone or their mixing skills, the one thing that everyone overlooks is the sound of the room.  You can be using a $17,000.00 vintage Telefunken, but even that magical and legendary microphone won’t keep your voice from bouncing off of drywall.  

Enter the Reflexion Filter…

The Reflexion Filter from sE Electronics is basically a portable device for recording live sound sources with reduced room ambience. It is an advanced composite wall which is positioned behind any microphone by means of a variable position stand clamp assembly which ships with the product. The main function is to help obtain a ‘dry’ vocal or instrument recording. This is especially useful in studios without proper acoustic treatment, but can also be used to help record takes in control rooms, where the performer also has to operate the recording device, or in rehearsal studios to reduce ambient noise. 

Reflexion Filter (microphone not included)

Reflexion Filter (microphone not included)

 

How does it work?

The Reflexion Filter has 6 main layers. Firstly, a strong layer of punched Aluminium which allows sound waves to pass through it, diffused, to a layer of absorptive wool. The sound waves then hit a layer of aluminium foil which helps dissipate energy and break up the lower frequency waveforms, and from here they hit an air space kept open by rods passing through the various layers. The air gap acts as an acoustic barrier. The sound waves then pass to a further layer of wool and then through an outer, punched, aluminium wall which further serve to absorb then diffuse the remaining acoustic energy.  The various layers both absorb and diffuse the sound waves hitting them, so progressively less of the original source acoustic energy passes through each layer. This reduces the amount of energy hitting un-treated walls and other surfaces so there is less of the original source reflected back as unwanted room ambience to the mic. The Reflexion Filter also helps prevent any reflected sound reaching the back and sides of the mic. Its shape and size have been carefully tested to maximize absorption while keeping ‘coloration’ down to only around 1dB, and leaving the microphone’s polar pattern unaffected.

The main absorber has 4 formed pieces of state-of-the-art special acoustic absorptive material attached to its face via the extended separation rods, which further serve to absorb and then diffuse the sound waves as they pass to the main filter.

The stand assembly is comprised of a mic stand clamp fitting, which attaches by means of a vertical joint to the horizontal bar assembly onto which both the Reflexion Filter and any standard fitting shock mount can be fixed. The microphone (in its shock mount) can then be moved both vertically and horizontally along the bar, and the Reflexion Filter itself can be moved vertically to obtain the optimum working position.

 

Final Verdict

All in all, it’s a very clever and desirable piece of equipment. It allows you to record vocals, guitars, etc with a ‘drier’ sound without having to have an acoustically treated room. With the Reflexion Filter, you won’t have the added room noise that makes it impossible to fit your vocal tracks in the mix.  It allows you to get a dry, untainted sound that’s only picking up the source you’re trying to record and nothing else. Because of this, vocal tracking frustrations will be a thing of the past. It’s portable, it uses state of the art materials, and most importantly it works! It’s also a fraction of the cost of acoustically treating your studio environment!  Every serious recording musician needs one of these in their arsenal.

You can find the sE Electronics Reflexion Filter, sE microphones, and other great new music products at www.macsales.com/music today!

Category: New @ OWC

Instant Drummer in your Mac!

Thursday, February 19th, 2009 | Author: OWC Rick

No drummer sits and plays eight-bar patterns robotically over and over again, and that’s why your virtual drum tracks may be sounding lifeless and unrealistic.

FXpansion BFD2

Enter FXpansion’s BFD2

BFD2 is an acoustic drum production environment for your computer with unprecedented power and flexibility. It provides extreme realism and sound quality, fast and easy set up, with total plug-in integration to your favorite digital audio workstation all in one software solution.

Now, it’s easier than ever to create expressive, complex drum parts using 55GB of rare, vintage, boutique and classic drum kits that were recorded at the famous AIR Studios in London. Mix your drums with flexible routing, submixing and built-in EQ, compressors and other effects. Additionally, BFD2′s Groove Engine offers advanced editing, performance and humanization functions for creating realistic drum parts. You can even lay out a full song’s drum track entirely within BFD2!

BFD2 Main Interface Page

The Sounds

Customized 10, 18 or 32 piece kits are at your fingertips, with full control over tuning, damping, ambiance levels, velocity response and more. You can layer parts of the kit for powerful hybrid sounds which is perfect for modern productions or flick through preset kit-piece profiles for quick access to dry, damped and other useful settings. BFD2 lets you configure your sounds like a real drum kit instead of pushing buttons on a sampler.

The hyper-detailed 55GB library features sounds with multiple articulations recorded with up to 96 velocity layers to open up new worlds of rhythmic expression. BFD2 makes it possible to program or play convincing nuances and ghost notes, intricately varied and dynamic hihat parts, elaborate cymbal workouts and visceral kick and snare lines.

The refined tone and definition of the space at London’s legendary AIR Lyndhurst studios is captured with two pairs of room mics, including a mid/side set. Meanwhile, the kit is mic’d with stereo overheads and mono close directs. All audio is routed through the magic of a custom Neve desk with Air Montserrat preamps into Prism A/D converters, sealing the foundations of a killer drum sound.  Just check out these samples:

Same 70′s Garage

Hey Liverpool

Taurina

BFD2 Mixer

The Mix

BFD2′s flexible, comprehensive mixing console lets you blend, route, submix and process the mic channels just like a real-world drum recording. Tweak bleed levels, play with ambient mic width, create aux sends and patch sidechain effects to shape your drums into infinite variations that sound convincing and powerful. The built-in processors include circuit-modelled dynamics, filters and distortion to deliver fat and floor-shaking sounds, while the flanger, bitcrusher, ring mod, delay and other effects allow subtle to extreme timbral variety.

In fact, the depth and scope of BFD2′s mixer rivals that of many fully-fledged sequencing hosts, meaning that you don’t have to worry about setting up multiple outputs in your host for mixing your drums. If you want to take advantage of external reverbs and other plug-ins or outboard you can route channels freely to any of the 32 available outputs. However, if you’re more of a musician than an engineer, you may prefer to browse through the supplied presets from experienced studio veterans, suitable for a variety of musical styles.

The Grooves

BFD2′s Groove Engine provides the perfect environment for editing patterns, setting up performance modes and applying humanization effects for added realism. Although you can create and record your own grooves, over 5000 stylistically diverse patterns are ready for you to slot straight into your productions or edit and combine with elements of each other to make new, customized parts. You can even lay out a sequence of grooves to form a full drum track entirely within BFD2.

If you’re a previous user of BFD, you’ll love the new time-saving and powerful functional enhancements in the Groove Engine like the advanced editor, synced audition previews, individual start and end actions for each groove and improved sorting, searching and management of your groove library.

Whether you’re a drummer wanting to input your latest groove into MIDI, or a guitarist that simply can’t play drums and needs a human-sounding drum track, BFD2 is the software for you! Find BFD2 and other great quality music gear at www.macsales.com/music today!

Category: New @ OWC

Professional recording with an iPod

Thursday, February 12th, 2009 | Author: OWC Rick

It’s taking the Mac and pro audio world by storm, and its name is ProTrack.  Alesis, one of the world’s leading pro audio and studio electronics manufacturers designed the ProTrack to provide a convenient, direct-to-iPod stereo digital recording solution in a portable, handheld form factor. Users can capture live audio anywhere and anytime with their iPod, iPod Nano, iPod Touch, or iPhone. ProTrack’s smart design integrates the iPod into the recorder, with included sleds to securely mount supported iPod models to the recorder.

The Ins and Outs

Alesis ProTrack with iPod Touch

You can record detailed, 16-bit, 44.1kHz or 22kHz stereo digital audio without connecting any additional equipment using ProTrack’s onboard pair of cardioid condenser microphones. The on-board mics are fixed in an XY configuration for optimal stereo imaging. ProTrack also has a pair of combo XLR-1/4″ inputs enabling you to connect any external professional sound source including condenser and dynamic microphones or mixer outputs. Whether you are running on AC or battery power, ProTrack supplies 48V phantom power to its inputs for operation with external condenser microphones. 

Powerful Features

The ProTrack has LED-level metering for instant visual indication, even in a dark club. You can monitor or play back recordings on the 1/8″ stereo-headphone output, and the controls for phantom power, limiter, and volume located on either side are convenient and easy to access. Additionally, the ProTrack automatically dates and time-stamps files when recording so it’s easy to identify which track was the recording of the acoustic-guitar folk duo last Tuesday at happy hour, and which was the flailing hard-rock drummer from Friday night. And speaking of that percussive dynamo, you’ll appreciate ProTrack’s switchable limiter which ensures that your recordings are distortion-free. The exterior contains a Universal Dock for iPod, LED signal indicators, and controls for 48V phantom power, limiter, and volume. Four AAA alkaline batteries provide four to five hours of operation. And, last but not least, a threaded mount is integrated for tabletop use on a camera tripod.

Alesis ProTrack with iPod Nano

Alesis ProTrack with iPod Nano

Record anything, anywhere

The Alesis ProTrack is the most convenient way to capture sound effects, recitals, jam sessions, speeches, interviews, rehearsals, performances, meetings, lectures, notes-to-self, and anything else you can thing of… directly to your iPod.

Check out www.macsales.com/music for the Alesis ProTrack and other exciting music gear today!

 

ProTrack records to iPod Classic 7th and 6th generation, 5th-generation iPod, 3rd and 2nd-generation iPod nano, 2nd-generation iPod Touch, iPhone and iPod nano-chromatic. Sleds are not included for nano-chromatic and nano 2G. iPod is a trademark of Apple Inc., registered in the U.S. and other countries.

Category: New @ OWC

OWC and Blue Microphones

Thursday, February 5th, 2009 | Author: OWC Rick

OWC is proud to announce our new partnership with Blue Microphones. The folks at Blue created quite a stir at Macworld 2009 winning Best of Show for their Mikey iPod Recorder, while their Eyeball HD Webcam/Mic was the toast of CES. OWC and Blue Microphones are very proud to be working together!  Take a look at just some of Blue Microphone’s products that are now featured at www.macsales.com/music.

 

Snowball

Snowball

Snowball – USB Microphone

The Snowball is a direct plug n’ play mic that connects to either a Mac or PC — no additional software is needed. With its dual capsule design and unique three-pattern switch (cardioid, cardioid with -10dB pad and omni), the Snowball can handle everything from soft vocals to the loudest garage band and it’s ideal for podcasting. Whether you’re recording a guitar at your kitchen table or a complete band in the studio, the Snowball can capture it with detail unheard of before in a USB mic.

 

 

Eyeball

Eyeball

Eyeball – HD Webcam/Mic

Perfect for instant messaging, video conferencing, social networking and more, the Eyeball features Blue’s famous pro-quality condenser capsule, giving it better sound than any webcam in the market. On top of that, they’ve added Super HD video to complete the picture, giving you an awesome visual experience. And, the Eyeball’s integrated design and compact size make it perfect for on-the-go use when you leave your desk. Works with Skype, iChat, Windows Live Messenger, AOL, Yahoo!, Google Talke, and other IM Services.

 

Mikey

Mikey

Mikey – iPod Recorder

Mikey is an iPod recording device that makes recording lectures, voice notes, live music, and interviews easier than ever before. Mikey features Blue’s superior quality stereo condenser capsules, 3-position user selectable gain settings, and built-in speaker for playback. You can even fine-tune Mikey to record everything from the barest audible sound to extremely loud sources without losing audio fidelity. Additionally, Mikey’s unique user-positionable head swivels 180° to provide maximum flexibility and usability.

 

 

Snowflake

Snowflake

Snowflake – USB Travel Mic

Designed with the traveler in mind, the Snowflake’s unique design allows you to place it on a desk or flat surface near your computer, or mount it to the screen of most laptops. It’s perfect for podcasting, voice recognition software, iChat, and VoIP software such as Skype or Vonage. Use it for dictation, field recording, lecture recording, and narration for slideshows and PowerPoint presentations. It’s even great for recording music via GarageBand and other multitrack recording software. 

 

Icicle

Icicle

Icicle – XLR to USB Converter

The Icicle is Blue’s new stylish USB converter and mic preamp combo that allows you to connect any XLR microphone directly into your computer via USB! The Icicle features a studio quality microphone preamp, 48V phantom power, fully balanced low noise front end, analog gain control, and driverless operation. The Icicle works with both dynamic and condenser microphones, providing high quality and hassle-free connectivity with Mac or PC. Whether you’re using a microphone for digital recording, podcasting, voice messaging, or voice recognition applications, the Icicle is the quick and easy way to get connected. Setup is a snap!

 

 

Bluebird

Bluebird

Bluebird – Condenser Mic

The Bluebird is a large-diaphragm cardioid condenser, utilizing Blue’s renowned microphone technology and Class-A discrete circuit. However, in a departure from its normally application-specific designs, Blue engineered the Bluebird to be as versatile as possible, with applications ranging from vocals to electric and acoustic guitars, close-miking of drums, drum overheads, percussion, piano, horns, strings, and any other application where crystal-clear sound quality and detail is of the utmost concern. In addition to the microphone itself, the Bluebird bundle also includes the Bluebird Accessory Pak, with a specially designed shockmount, the BirdCage, and a metal mesh pop filter, the BirdNest. So no matter what your sound, the complete Bluebird package offers today’s musician a top-notch recording experience at an outstanding price – all in one nest!

Category: New @ OWC