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Mac Virtual Instruments on a PCThe best of both worlds -- and it spreads the processing load
|Creating partitions in Boot Camp|
For those who missed it, a beta version of Appleís new Boot Camp software was made available April 4 as a free download (Click here to read all about it). The software allows users of the new Intel-powered Macs to set up a dual-boot operation, launching either OS X or Windows XP. This is an exciting development for those who like the sleek Apple hardware but want access to applications available only on Windows.
But for the past couple of weeks, Iíve been happily recording Mac-based audio applications on a PC. And while these applications are not actually hosted on the PC, thatís actually better because it spreads the load around.
What Iíve done is to route the audio outputs from a Mac to the audio inputs on a PC. Essentially, this enables the Mac to function as a super synth host. The setup frees up the PCís resources from bogging down with processor-intensive samplers and soft synths at the same time itís being required to play back multiple tracks with various plugins inserted. With the PC chugging away on that stuff, the full resources of the Mac are devoted to high-level sound creation, sampling and sequencing tasks. Itís a symbiotic division of labor.
Iíd prefer not restrict my audio toolset based on a computer platform. Even though many applications are now cross-platform, a significant number still are not. On the PC, Iíve always liked Sound Forge for its editing prowess, ACID for its looping capabilities and SONAR for its robust DAW functionality.
|Sculpture virtual synth|
There are many routing possibilities for getting the audio output from the Mac into the PC, but itís best to do it digitally to avoid a digital-to-analog conversion going out of the Mac, and then an analog-to-digital conversion going into the PC. Since G5s have optical digital outputs built in, they can be connected directly to the optical inputs on a PC audio interface. One such interface is RMEís Digiface, which includes a PCI card and an external breakout box with 24 channels of optical I/O. In the PC recording application, itís easy to select the appropriate channel with the Macís audio input. Or, the link could be FireWire to FireWire, using an interface such as the PreSonus FireBox.
|Sculpture track recorded in SONAR 5|
So far, my low-tech solution for integrating the two computer platforms is working well. Surprisingly, latency has not been an issue, no doubt because everything meets in the mixing board. And thanks to the Mini-Me's high-quality A/D conversion, the audio signal quality remains pristine on its circuitous path.
Another advantage of this setup is that while I am recording the audio outputs of the Macís virtual instruments, I am also recording MIDI files in Logic. That way, I retain the flexibility of MIDI, and the ability to change patches at will to try different voices later on. Also, if I want to, I can work completely in Logic Pro 7 on the Mac, without involving the PC -- and vice versa.
|MIDI tracks are simultaneously recorded in Logic Pro 7 as audio is output|
The benefits of this low-tech setup to me are, a) to use the tools of my choice, and b) to spread the processing load around. But it would be easy to construct a similar setup with any audio applications, such as Digital Performer to Audition, etc., etc. And of course, intra-computer routing is not really a Mac-PC thing. It could be done with two Macs or two PCs, depending on your specific needs.
Related Keywords:Mac, Windows XP, OS X, Logic Pro 7, recording, SONAR 5, audio applications, cross-platform
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