Macdoc's Digital Audio FAQ
v1.0 March 2001

Nicholas Ursa (nicku@mac.com)

What computer should I get to run audio software on ?

This depends on what program you want to run, how many tracks you work with, and what kind of plug-in power you require. It breaks down into a couple of basic scenarios:

Scenario 1: You only want to do MIDI and a little bit of recording. Keep it cheap.
In this case, anything from a Power Mac 7200 and up will do (See the timeline to see what "up" means). MIDI is not very taxing on the computer. The 7200 will not run many plug ins, but will playback 16 tracks fine.

Scenario 2: You want to run Cubase, Logic Audio, Performer, or Pro Tools LE
This is the big case. As a standard I would say that at this point in Mac History, these are your minimum specification:

The processor speed determines the number of plug ins you can run at the same time. I did some benchmarking and decided that 300 Mhz is the minimum to work comfortably with the following typical pop music mixing setup:

Of course, not all plug-ins are built the same. The compressor that came free with your audio software is not as transparent as, for example, a Rennaisance compressor by KSWaves, but probably uses only a third of the processing power. A reverb typically takes up a third of the computer’s power if it’s got things like early reflections and realistic ambient diffusion. No reverb sounds as good as an outboard lexi. If you’re serious, that’s the way to go.

Also, keep in mind that very few plug ins take advantage of the G4 chip. Unless you are using native Logic Audio plug-ins only, you will not see a significant performance difference between a 400 Mhz G3 and a 400 Mhz G4. This will change over the next 18 months, as more plug in manufacturers rewrite their code.

Scenario 3: Pro Tools TDM
In TDM systems, the processing is all done off the CPU. In theory TDM systems don't need alot of processing as the DSP is done on special chips. However, you are limited by Digidesign as to waht systems you can use to get tech support. Here are Digidesign's specs as of Feb 2001.

Supported CPU Models, Speeds & Requirements

System Software: Mac OS v9.0 or v9.1
RAM :Up to 32 tracks - 128 MB minimum - 32 - 64 tracks - 192 MB minimum

Chances are that if you’re going to drop $15,000 on a TDM system, you don’t need to save $500 on the Mac. In addition, you will probably, at some point, run software other than Pro Tools, or software within pro tools that benefits from processor. The Audiosuite plug ins, for example, also do not run on TDM, so that would benefit from a faster computer. Bottom line, Get a Blue G3 or Grey G4. If you need 6 slots to run video cards and such, it looks like a 9600 is your only option. But for a long life, go for the Blue or Grey.

What Hard Drive ? ATA vs SCSI ? How big ?

It used to be that SCSI knocked the intestines out of ATA drives. However, recent advances in ATA (aka DMA, UDMA) disks make them actually faster than the original SCSI. Typical internal SCSI speeds 4 years ago were 3 megs/sec. Today’s ATA drives regularly clock in at 10 megs/sec, and cost a third as much. However, SCSI evolved into Wide SCSI, Ultra Wide, Ultra wide 2, and Ultra Wide 3, to meet those with high performance needs.

The bottom line for audio people is that to get 48 tracks of 24 bit, you’ll need Ultra Wide SCSI. For get 32 tracks of 16 bit, or 24 tracks of 24 bit ATA is fine. Keep in mind we’re not talking tracks on the screen, but SIMULTANEOUSLY PLAYING AUDIO SEGMENTS. Currently, a 30 gig drive costs about $250 in ATA and $900 as SCSI, to give you an idea of the spread.

44.1 Khz, 16 bit audio (CD specs) takes roughly 5 megabytes per mono minute. Or track minutre.

Assuming 8 full tracks and a 5 minute tune, and doubling for workspace, you can assume the average projects takes about 400 megs for a song. I tell people every hard drive gig abouve 4 equals about 2 projects they can keep on the drive. Keep in mind Sample Library's ripped CDs, MP3s all take up lots of space and are used to support working on music projects. Bottom line, 9 or ten gigs is all right. 20-40 gigs is better.

What Audio Card Should I get ?

Oh Jeez. I hate this question. There are very few people to really answer this question. Salespeople don’t run lots of cards, they just read bout them. Professionals use one or two and that’s it. No one has experience with a tonne of different cards. What program you use determines a lot.

If you are using performer, get all MOTU gear. You’ll be glad you did.
If you want to use ProTools LE, you must get a Digidesign card of some sort.
If you are on Logic, you can check out Emagic’s own Audiowerk, but in theory any ASIO compatible card will do. (What is ASIO ?)

There are other factors. If you want to mix in outboard gear like external effects, then you need a card with at least 4 ins and 4 outs. Getting 24 bit audio is nice, but not strictly necessary. Clean analog to digital converters are the most important factor. These days, they'rea ll pretty good. You microphone setup and ambient noise will be a greater factor that 24 or 16 bit.

What sequencer should I get ?

Again, this is a personal call. Here’s my opinion. If you are a big audio software manufacturer, please don’t sue me.

Emagic's Logic Audio has a steep learning curve, but is rock solid and very flexible. It runs VST plug ins and handles Digidesign, ASIO, Audiowerkand Sound manager cards. It runs VST plug ins.

Mark of the Unicorn's Digital Performer is very popular in Hollywood, and is great for movie score type stuff. It does not have the "block" edit arrange concept that other’s do, so it less useful for loop based music. On the other hand it’s great of odd time signatures and other non-pop type stuff. It runs VST plug ins and handles Digidesign, ASIO and Sound manager cards.It runs MAS (MOTU Audio System) plug ins.

Steinberg's Cubase made it’s strongest impact with dance of pop communities. It has good loop and block editing, and the best plug-in support. It is similar to, but simple to use than Logic. However, I find for anything other than pop, it can be limiting. It runs VST plug ins and handles Digidesign, ASIO and Sound manager cards. It runs VST plug ins.

Digidesign's Pro Tools is it’s own bird. For manipulating Audio, nothing beats it. It has a user interface built from the ground up to handle audio chunks, whereas sequencers are MIDI foremost and audio handling is not as elegant. So for post-production, sound design, anything very biased toward audio it’s the best. It can even be synced to any of the above if they’re running at the same time. I am still not convinced of the newly touted MIDI capabilities of the pro-tools software. For serios MIDI work, you’ll need a sequencer too. It runs RTAS (Real TIme AudioSuite) plug ins, or TDM in the TDM systems.

What about OS X ?

Audio Software will be among the last programs to port to OS X because they rely so much on low level memory access, They will need to totally redesign their playback and record engines. The reason audio software wants you to shut off virtual memory is to avoid a possible lag time from disk when accessing memory. OS X always uses a virtual memory scheme, so they need to think of work arounds.

In addition, audio drivers are low level, and will take a lot of rewriting.

What else will I need ?

I think everyone needs a good sample editor. Peak is my favorite. When combined with toast, it can do all the recular CD mastering stuff, copy protect codes, etc.

GET A GOOD QUALITY, BIG MONITOR.
I can’t stress this enough. Here is a picture of a session I am working on right now in Pro Tools. I use a 19" screen than can go to 1600x1200, which is the resolution this shot is taken at. Even then, it’s none too roomy if you want to have a mixing window and a track window open at the same time. If you are viewing this on smaller monitor, you can see how much scrolling you have to do to get work done. If it’s a toss up between processor speed and monitor, PLEASE, go for the monitor. Many audio clients get two monitors, one for the arrange, on for the mix. Why waste your life scrolling and flipping through windows.

A small graphics tablet such as a Graphire is worth it (around $145), to make on-screen faders more of a tactile experience. A mouse sucks for mixing, believe me. Best, of course, are mixing control surfaces such as a Mackie HUI, but they’re pricey.

I haven't talked about keyboards, samplers, etc for much the same reason I haven't talked about harmonicas and banjos. Those are the instruments,that's your domain. If you have alot of keyboards, make sure to get a MIDI interface with lots of ins and outs.

I think everyone needs a small mixer at least. For $400 CDN you get a great mackie board with solos and trims. Use it to route audio to varios sources, trim signals for a good strong input, and manage your DAT deck, Cd player, etc.

Don't forget about a monitoring setup. Computer speakers WILL NOT do. Neither will headphones. You need a decent amp, a good home stereo amp will suffice, and a pair of speakers that will give you a nice wide frequency response. A pair of studio monitors can cost as little as $400 for the pair.

Finally, keep in mind the computer is only a small part of the equation. If you are in a noisy apartment on Spadina Avenue, the difference between 16 bits and 24 bits is neglegable. The bottom 12 bits will be recording the streetcar. If you are using a $100 mike, don't worry about the processor speed. Get a good mike.