Logic Pro, Apple’s pro music creation software, now comes with a complete set of tools for authoring spatial audio music, so users can mix and export their songs in Dolby Atmos for Apple Music.
And Apple says that musicians can use up to 3x as many plug-ins for recording on the MacBook Pro with M1 Max.
Here’s what’s new in Logic Pro 10.7:
Now with a complete set of mixing and rendering tools, Logic Pro allows anyone to author songs as Dolby Atmos music files compatible with Apple Music. Musicians, producers, and mix engineers can expand their stereo projects to the surround channels supported by Dolby Atmos, using new mixer and panner controls.
In addition, 13 plug-ins within Logic Pro — including Space Designer, Limiter, Loudness Meter, and Tremolo — have also been updated to take advantage of this new creative capability.
With the new MacBook Pro, musicians also get workstation-class performance for creating massive spatial audio mixes, can quickly load large sample libraries, and can use up to 3x more plug-ins for recording.
Logic Pro also now comes with all the new Producer Packs1, introduced in GarageBand this summer. The sound library features beats, loops, and samples created producers Boys Noize, Mark Lettieri, Mark Ronson, Oak Felder, Soulection, Take A Daytrip, Tom Misch, and TRAKGIRL.
Logic users now have access to 2,800 new loops, 50 new kits, and 120 new patches they can use in their own songs — all royalty-free.
Pricing and Availability
Logic Pro 10.7 is available today as a free update for all existing users, and for $199.99 (US) for new users on the Mac App Store.
A venue change announced in mid-August originally came as a surprise to Porter Robinson. Second Sky, which was originally set to take place in Berkeley’s Caesar Chavez Park on the waterfront, was now moving 20 minutes away to Oakland Arena. Disappointed to be losing the backdrop of the Bay Bridge and Golden Gate framing San Francisco and switching it out for what’s colloquially known as “the worst ballpark in America” due to its outdated concrete structure, Robinson decided to instead focus on the production and atmosphere of the venue itself. Besides, the music is the reason why people come anyway. Despite a last minute change of scenery, the focus Robinson’s team poured into the event’s setting paid off tenfold.
Partnering with Nassal, the same company that designed The Wizarding World of Harry Poter and Star Wars: Galaxy’s Edge at Universal Studios, the entirety of the Oakland Arena was completely and utterly transformed from core to perimeter. In fact, the parking lot typically used for tailgates before Athletics games (and formerly the Raiders, before they turned their backs on the city of Oakland), became nearly unrecognizable.
Littered hot dog wrappers were traded out for pristine astroturf that coated the entire lot. Floral gates that featured Potaro walking beneath them greeted attendees once they first made their way onto the festival grounds, the beloved Second Sky mascot stopping to take photos with adoring fans. A Potaro stone temple entertained a daunting line throughout the entirety of the festival, while a towering tree provided shade for those who wanted to lie down on the turf, and a crystal garden poised itself as the place to take otherworldly Instagram photos. The single stage itself was framed by passing Bart trains and, once the sun set, the Pisces full moon, adding to the wonder of Robinson’s magical venue.
With just one stage framed by Robinson’s exhibits, which together felt like what could be Robinson’s own Disneyland, complete with food curated from the finest Bay Area restaurants, Second Sky’s comeback felt like an entirely new, refreshed festival experience. Those waiting in long lines for Potaro-themed boba could still see and hear the stage, allowing the audience to not need to miss a second of the music. Robinson’s parents also walked through the crowd sporting vests proudly proclaiming, “I’m Porter’s Dad!” and “I’m Porter’s Mom!” hoping to raise $154,000 for the Robinson Malawi fund over the course of the festival’s run. Robinson and his family achieved their goal for the festival by noon on day two, allowing them to cover the costs of treatment for the entire pediatric Burkitt medical treatment in Malawi for two years.
The crowd remained respectful and orderly throughout the weekend, perhaps collectively overwhelmed by the joy of be together after 19 dormant months without concerts and festivals. Those walking through the event needed to show proof of vaccination or a negative COVID-19 test prior to reaching the box office, security, and ticket scans. Friends sat on the turf with blankets, enjoying the set and the sculptures that brought Nurture to life around them. Fans sang along during each set and stared in hushed anticipation during silences, with the festival’s second day providing one of the few days of the year that the East Bay is completely devoid of any fog.
With a lineup that included talented acts such as Knower, Wavedash, Jacob Collier, Jon Hopkins, Toro y Moi, Jai Wolf, Madeon, and the debut of Robinson’s Air 2 Earth project, the musical atmosphere matched the physical venue in all the right ways. Each artist put their best foot forward, reveling in the opportunity to be on stage once again. Air 2 Earth welcomed the crowd as they entered, giving a peek into what could be expected from the day while treating fans to Robinson’s latest project. Masked moshed pits made their way through Wavedash, Knower pointed out politics within their visuals, Jacob Collier got everyone grooving, Jon Hopkins threw listeners into a heavenly, complex spiral of feels, Toro y Moi brought out the funk, Jai Wolf played out a flawless session of his biggest hits, and Madeon evoked his best Michael Jackson homage in his fashion choice, while playing out Good Faith Forever to a crowd of galvanized fans.
But the most elating feeling that permeated the entire atmosphere and hung over the venue was the amazement and wonder that festivals had finally returned. With a year and a half spent locked up indoors, wondering when, or sometimes even if live music would be able to return again, Second Sky was coated in the energy of freedom. Freedom to hug internet friends from across the country only sen at a few shows a year, freedom to sit in the sunshine and witness their favorite artists perform live, and freedom to witness Porter Robinson bring Nurture to life before them for its first-ever live performance. It was a special atmosphere—a timely modification to the otherwise familiar feelings of being in the crowd at that concert you’ve been waiting for.
Robinson himself appeared in awe of the fact that his vision for Nurture finally stood before him. His entire set boasted nearly every track from his album, the crowd singing each song back to him as they, and he, wiped tears from their eyes. He stopped the music to chat with his audience a few times, taking moments to soak the entire night in.
“Hello everybody, how are we all feeling? Let me ask you this, who is glad they came here today? I can’t tell you how good it is to see all of your faces again and like, for years, now, working on ‘Nurture,’ I’ve imagined this moment of looking into the crowd and seeing everyone’s hands in the air and singing all these choruses back to me. It’s a total dream come true. I want to say thank you. Genuinely, thank you all so much. This is the best day of my life. Every Second Sky is. So, in the spirit of hearing you all sing back to me, let’s do that on this next one.”
Easing into a softer version of “Shelter” as he sat before the crowd, 40,000 voices sang back to Robinson for one of the most memorable moments of Second Sky’s highly anticipated comeback. Each climactic moment from every song was highlighted by fireworks, adding to the audience’s incredulity. The single opening note of “Sad Machine” threw the crowd into absolute ballistics, and Robinson even threw his set back to “Language” after keeping the song out of his setlists for several years.
Second Sky achieved all of its goals and then some, creating an event that brought fans together as family and provided a loving atmosphere that welcomed them back to live music in the most kind and thoughtful of ways. The festival also successfully presented Porter Robinson’s blueprint for Nurture in the more experiential-leaning lens that the album was written in. If the intent of the record was to express an appreciation for things like the crisp breeze on one’s skin, the soft brush of grass in the cool shade, or the warmth of sunshine on one’s face, those that got to attend the return of Second Sky got to experience Robinson’s vision to its fullest, most robust degree.
Rave One! by photographer Peter J Walsh is a vivid journey back in time
Monday, October 18, 2021 – 12:42
A new photobook captures the Haçienda at its prime.
Published via IDEA, photographer Peter J Walsh’s Rave One! is a journey via various photos taken within the walls of the legendary Manchester venue between 1982 until its closure in 1997. The infamous nightclub is considered by many as the birthplace of acid house, and Walsh captured the club at the peak of its popularity, before the police cracked down on the venue.
Spanning 168 pages, Rave One! – which was printed in a first-edition run of 1500 – is available to buy here for £35. Among some of the many familiar faces featured in the book include pop impresario Tony Wilson, Bez, Noel Gallagher, and Bernard Sumner of Joy Divison and New Order. See below.
Earlier this year, a Kickstarter fundraiser target was met for designer Ben Kelly’s book on the Manchester club, Haçienda Landscapes.
Apple today introduced two new redesigned MacBook Pro laptops, powered by the M1 Pro and M1 Max, that promise to be significantly faster than previous models and, just as importantly, less annoying.
The new 14- and 16-inch MacBook Pro models deliver ‘groundbreaking’ processing, graphics, and machine learning (ML) performance, great battery life, updated displays, a 1080p camera and improved audio capabilities.
They also eliminate many of the annoyances of recent MacBook Pros.
The new MacBook Pros:
Feature improved keyboards, “bringing back the familiar, tactile feel of mechanical keys”;
Eliminate the Touch Bar, a feature that turned out to be a major UI misstep for pro users;
Bring back MagSafe, a magnetic power connector that can keep your computer from getting ripped to the floor when someone steps on your power cable; and
Eliminate the need for a lot of dongles, by including a wide range of connectivity options, including HDMI and an SDXC card slot.
The M1 Pro & M1 Max Promise Next Level Mac Performance
As part of today’s introductions, Apple debuted the M1 Pro and M1 Max, a pro take on Apple Silicon’s system-on-a-chip (SoC) architecture. They say that the new chips offer “best-in-class performance per watt and industry-leading power efficiency.”
M1 Pro takes the architecture of original M1 to a whole new level. Featuring a powerful up-to-10-core CPU with eight high-performance cores and two high-efficiency cores, along with an up-to-16-core GPU, M1 Pro delivers up to 70 percent faster CPU performance than M1, and up to 2x faster GPU performance. M1 Pro also delivers up to 200GB/s of memory bandwidth — nearly 3x the bandwidth of M1 — and supports up to 32GB of fast unified memory.
Designed to dramatically speed up pro video workflows, M1 Pro adds a ProRes accelerator in the media engine, delivering unbelievably fast and power-efficient video processing.
M1 Max features the same 10-core CPU as M1 Pro, and doubles the GPU with up to a massive 32 cores, for up to 4x faster GPU performance than M1.
It also has up to 400GB/s of memory bandwidth — 2x that of M1 Pro and nearly 6x that of M1 — and up to 64GB of fast unified memory. M1 Max also offers an enhanced media engine that features two ProRes accelerators, for even higher multi-stream performance.
As a result, users can edit up to 30 streams of 4K ProRes video, or up to seven streams of 8K ProRes video in Final Cut Pro — more streams than on a 28-core Mac Pro with Afterburner.
The Most Powerful Mac Notebooks Ever
With the 10-core CPU in M1 Pro and M1 Max, the 14-inch MacBook Pro enables:
Up to 3.7x faster project builds using Xcode.
Up to 3x more Amp Designer plug-ins in Logic Pro.
Up to 2.8x faster computational fluid dynamics performance in NASA TetrUSS.
Featuring the 16-core GPU in M1 Pro and the 32-core GPU in M1 Max, the 14-inch MacBook Pro offers:
Up to 9.2x faster 4K render in Final Cut Pro with M1 Pro, and up to 13.4x faster with M1 Max.
Up to 5.6x faster combined vector and raster GPU performance in Affinity Photo with M1 Pro, and up to 8.5x faster with M1 Max.
Up to 3.6x faster effect render in Blackmagic Design DaVinci Resolve Studio with M1 Pro, and up to 5x faster with M1 Max.
Both M1 Pro and M1 Max feature a 16-core Neural Engine for faster ML tasks, including:
Up to 8.7x faster object tracking performance in Final Cut Pro with M1 Pro, and up to 11.5x faster with M1 Max.
Up to 7.2x faster scene edit detection in 1080p ProRes 422 video in Adobe Premiere Pro.
Up to 2.6x faster performance when selecting subjects in images in Adobe Photoshop.
When compared to the previous generation, the new 16-inch MacBook Pro delivers massive gains in performance. Featuring the same powerful 10-core CPU in M1 Pro and M1 Max, the 16-inch MacBook Pro delivers:
Up to 3x faster computational fluid dynamics performance in NASA TetrUSS.
Up to 2.1x faster project builds in Xcode.
Up to 2.1x faster publish performance in Vectorworks.
With the 16-core GPU in M1 Pro and 32-core GPU in M1 Max, the 16-inch MacBook Pro offers faster graphics performance with:
Up to 2.9x faster combined vector and raster GPU performance in Affinity Photo with M1 Pro, and up to 4.5x faster with M1 Max.
Up to 2.5x faster render in Maxon Cinema 4D with Redshift with M1 Pro, and up to 4x faster with M1 Max.
Up to 1.7x faster 8K render in Final Cut Pro with M1 Pro, and up to 2.9x faster with M1 Max.
With the 16-core Neural Engine on both M1 Pro and M1 Max, ML tasks are faster, including:
Up to 4.4x faster scene edit detection in 1080p ProRes 422 video in Adobe Premiere Pro.
Up to 3.6x faster object tracking performance in Final Cut Pro with M1 Pro, and up to 4.9x faster with M1 Max.
Up to 1.5x faster performance with M1 Pro and up to 2x faster with M1 Max when selecting subjects in images in Adobe Photoshop.
Power Efficiency and Battery Life
The new MacBook Pro laptops also offer impressive power efficiency and battery life:
When compared to the previous-generation MacBook Pro on a single charge, the 14-inch model delivers up to 17 hours of video playback, which is seven additional hours.
The 16-inch model gets up to 21 hours of video playback, which is 10 additional hours — the longest battery life ever on a Mac notebook.
And the new MacBook Pro laptops deliver the same level of performance, whether it is plugged in or using the battery. Apple says that this combination of system performance, on-battery performance, and battery life sets MacBook Pro apart from every other notebook.
A feature that’s notable for musicians is that Apple has improved the MacBook Pro thermal system to move more air, which means that the laptops can keep cool and quiet. They say that “the fans never even have to turn on for most tasks users perform every day.”‘
Both models come with a larger display than the previous generation — the 16-inch model offers a 16.2-inch display with 7.7 million pixels, the most ever on a Mac notebook. And the 14-inch model gives users more screen real estate than before, with a 14.2-inch active area and a total of 5.9 million pixels — more pixels than the prior 16-inch MacBook Pro.
The displays feature 1,600 nits of peak brightness, and a 1,000,000:1 contrast ratio. ProMotion technology also comes to the Mac on this new display, featuring an adaptive refresh rate up to 120Hz. ProMotion automatically varies the refresh rate to match the motion of a user’s onscreen content to help preserve battery life, and makes tasks more fluid and even more responsive.
Both models feature three Thunderbolt 4 ports to connect high-speed peripherals, an SDXC card slot for fast access to media, an HDMI port for connecting to displays and TVs, and an improved headphone jack that supports high-impedance headphones.
MagSafe returns to MacBook Pro with MagSafe 3, featuring an updated design and supporting more power into the system than ever before. Additionally, fast charge comes to the Mac for the first time, charging up to 50 percent in just 30 minutes.
With M1 Pro, users can now connect up to two Pro Display XDRs, and with M1 Max, users can connect up to three Pro Display XDRs and a 4K TV, all at the same time.
For wireless connectivity, MacBook Pro also features Wi-Fi 6 and Bluetooth 5.0.
The new MacBook Pro comes with a 1080p FaceTime HD camera — the best ever in a Mac notebook — doubling resolution and low-light performance. The camera system taps into the image signal processor (ISP) and Neural Engine of M1 Pro and M1 Max for computational video that enhances video quality — so users appear sharper with more natural-looking skin tones.
The new MacBook Pro also has “industry-leading, studio-quality mics”, with a lower noise floor, resulting in clearer calls and voice recordings.
A six-speaker sound system features two tweeters for a clearer soundstage and four force-cancelling woofers, resulting in 80 percent more bass.
The sound system also supports spatial audio, which creates a three-dimensional listening experience.
Pricing and Availability
The new MacBook Pro models with M1 Pro and M1 Max are available to order today. They will begin arriving to customers and will be in select Apple Store locations and Apple Authorized Resellers starting Tuesday, October 26.
The new 14-inch MacBook Pro model starts at $1,999 (US), and $1,849 (US) for education; the 16-inch MacBook Pro model starts at $2,499 (US), and $2,299 (US) for education.
Tommy Trash has launched his own record label, Milky Wave, minting the new imprint with its inaugural release, “Satisfy.” Wanting to go deeper into the world of house music, Milky Wave allows for the veteran selector to release music on his own terms. The track blends Trash’s signature electro sound with groovy melodic house tropes, the higher vocal tones contrasting nicely with the track’s deeper instrumentals. Speaking on the release, Trash said in a press statement,
“I’ve wanted to launch a label for a long time but I was waiting for the perfect record to do it with. ‘Satisfy’ is that record. ‘Satisfy’ is the very first release from my new imprint, Milky Wave, and it feels like a good taste of what’s to come. I’ve been on such a huge journey these past few years, both personally and in my career, and I’ve been rediscovering a lot of great house music along the way. This record really captures everything I love about house. It’s a bona fide club jam and the sort of music I’m excited about putting on Milky Wave. Hope you dig it.”
Milky Wave signals more than just the start of a new creative endeavor for Trash, too. A more sober, expressive, and centered Tommy Trash has emerged from a considerable hiatus, which found the producer combating years of EDM burnout with quiet waves in Thailand and potent ayahuasca-born epiphanies in Central and South America. Now, following a comeback single to launch deadmau5‘s new Hau5trap offshoot earlier this year, Tommy Trash is officially setting his own label operation into motion, ushered in by “Satisfy.”
Meeting at the intersection of live music and cannabis culture, EDC has teamed up with RNBW World, a line of cannabis flower that is made specifically with the enjoyment of creators and music lovers in mind. The brand of smokeables will have a presence at EDC and additional Insomniac properties going forward, however event organizers have stated that cannabis will not be sold onsite at EDC later this month. According to a recent Instagram post,
“RNBW World will become a physical experience at Insomniac festivals, where RNBW will offer a fully interactive journey into the world of premium cannabis.”
Se EDC’s full post below.
Coming SOON! RNBW World will become a physical experience at Insomniac festivals, where RNBW will offer a fully interactive journey into the world of premium cannabis. #FealRealpic.twitter.com/IZJa40Lpax
In mid-September, the new music video for Mac Miller‘s “Colors and Shapes” landed, and now streaming services have now finally bestowed the fans with the reemergence of the emcee’s Faces mixtape, marking the widely acclaimed collection’s appearance on all major music platforms for the first time.
Carving out a more defined space for himself after his debut full-length, Blue Slide Park put him on the map, Miller gathered some of hip-hop’s most creative forces, namely Thundercat, Schoolboy Q, Vince Staples, Earl Sweatshirt, and more, to join him in his reimagined pool house studio. These uninterrupted sessions turned into what would become Faces—a monumental 25-track expression of what remains a messy portrait of the time spent in Miller’s studio, famously dubbed The Sanctuary.
With its walls illuminated in a dark, distinct red light, it’s impossible to understate the sentiment that The Sanctuary held. Apart from informing listeners that “The Sanctuary was the most important thing that ever happened to [him],” Miller shares on Making Faces, the short film accompaniment to the project’s reissue, “It felt like it was my own world, I felt like I could really grow into myself creatively, and find myself through the music I was making.”
Released for free without the support of any major labels, the mixtape fared far better than anyone expected it to, eventually becoming an easy fan-favorite from the late Pittsburgh producer. “You can see brush strokes of it,” says close friend and frequent collaborator, Thundercat, drawing parallels to the eccentric and at times chaotic manner in which the tape was created. He continues,
“A lot of the time, you have storytellers in rap, you have people who can tell stories or a person who can tell you their story, but it’s very rare that you have a person who can paint a picture for you. And painting a pretty picture doesn’t mean that it makes you feel pretty.”
Stream Faces below, and find the vinyl edition here.
Final Cut Pro, Motion, Compressor, and Logic Pro all got major updates today, too, to go alongside those new Macs. Logic gets the Spatial Audio tools we’ve been waiting for (and they look fantastic). Just as notable, the pricing stays the same – free updates, buy once, no subscriptions.
That subscription news I think is itself notable. As a lot of software pushes subscriptions, Apple isn’t. If there was ever a time to unveil some kind of Apple Pro subscription for the Pro apps, this would have been it, presumably. So if it’s not happening now, I don’t expect it to happen any time soon. Apple’s situation is unique, of course – why charge for upgrades when they can sell you a new MacBook Pro? But it’s still worth mentioning.
And let’s get into what you get with these updates.
Logic Pro 10.7 – now with Spatial Audio creation tools
This is what we’ve been eagerly anticipating – Apple is baking Spatial Audio tools directly into Logic. I hope to do a deep dive on this soon, but here’s the snapshot:
New mixer and panner controls
Spatial options in 13 plug-ins – including Space Designer (ooooooooh), Limiter, Loudness Meter, and Tremolo.
Dolby Atmos and Apple Music authoring
As I read the update, this is really two good things in one. The spatial options in the plug-ins and panners and whatnot are almost certainly multichannel spatial tools generally. (Notice the binaural output in the screenshot, so you can even get something through headphones.) So that’s not just relevant to Atmos or any single proprietary format; it should work for your n-order ambisonics or multichannel performances or whatever. That’s certainly how that stuff can and should work. Getting it “for free” in Logic would be really, really great, though.
The second part is equally good news for democratization, which is that it appears you’ll be able to author Dolby Atmos for Apple Music without buying add-ons as you previously had to do. How that works, what features are here versus the paid tools, whether this applies to other Atmos deployments – all that I have to research.
In short: the likelihood here is that this makes both multichannel panning more accessible to Logic users, and Atmos authoring more economical for all Mac users.
But the other story here is, if you are getting a new MacBook Pro, Apple says in their news item that you’ll get up to 3x more plug-ins for recording.
There are also Producer Packs, which… you probably don’t care about, but that does include an Atmos mix of Lil Nas X, which could make a reasonable demo for how those projects are assembled.
Final Cut Pro 10.6, Motion, Compressor
Oh, there’s a lot of cool stuff here.
Edit Cinematic mode videos from the iPhone 13/iPhone 13 Pro (heh, how you get those into Resolve I guess will be a topic for another day)
Improved object tracking analysis on 16-inch MacBook Pro
New Neural Engine acceleration for face and object detection on those newer M1 Pro / Max, too
Improved ProRes playback and export performance on the new M1 Pro / Max
Motion performance enhancements – 2x faster renders, 5x performance of two 8K video streams on MBP
Object tracking combined with masks, shapes, 3D objects, behaviors, filters in Motion
New Neon filter in Motion
Compressor HEVC and ProRes transcode improvements on new MBP (2x and 10x faster, Apple says, respectively)
Canon Cinema RAW transcoding to other formats for the first time (so you can get those in ProRes or H.264 or whatever you need)
Sounds great. And as usual with the Mac, it isn’t just the Apple apps – we do expect a lot from the other members of the Mac ecosystem on the new Apple hardware, too.
Stay tuned. And some of you, probably, watch that FedEx tracking… enjoy.
More on details of these updates later this week. I need an evening coffee, or to upgrade my brain to M1 Max. I think it’s an old Pentium or something.
They’re the next instalment of Apple’s most popular headphones
Monday, October 18, 2021 – 18:11
Apple has launched the next version of their popular AirPod headphones. The third generation of AirPod won’t replace the current second-gen but adds some features from both the Pro and the AirPod Max including Spatial Audio, Adaptive EQ and Dynamic Head Tracking. The new pods are also water and sweat resistant and add up to six hours of listening, with four full charges via the new case, which now also supports wireless charging.
Spatial Audio is Apple’s new ‘surround’ tech developed with Dolby and offers placement of sound and FX in 3D space rather than traditional stereo. It’s been part of Apple TV and Disney+ for a while but has been making its way into Apple Music with new and old catalogues being updated. We discussed it in our review of the AirPod Max here.
Adaptive EQ automatically adjusts the EQ curve depending on the placement of each pod and the shape of your ear, to attempt to keep the frequency response as flat as possible.
Dynamic Head Tracking is designed to keep audio in place based on its position on the screen, regardless of how you turn your head.
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