Doing this was pretty impressive at the time, and I always made sure everyone on the session knew!įor many years Emagic Logic on a Mac was by far the best all round DAW. By this time a dial-up internet connection was usually in most studios’ office. All the key commands were stored in the one preferences file, and I would have easy access to my preferences file with my key commands, because I had emailed them to my Hotmail account. ![]() I was amazed you could do that at the time, and I don’t think I could have got to any reasonable level in Logic in the time I needed to. I learnt Logic by changing the Logic key commands to Cubase key commands. People then were mostly either using Cubase on an ST or Emagic Logic on a Mac.Īround about this time, I could see Macs running Logic were much better than Atari STs running Cubase, so I had to switch and had to learn Logic. As Macs were used more and more, Emagic Logic was emerging, and at one point overtook Cubase. Okay went slightly ahead of myself there, sorry about that – back to the olden days. I think now with 8 processors in my Mac Pro compared to five years ago when it was a dual 1.8 PPC, I’m still doing the same thing on it but just not thinking so hard about being economical with plugins, which then were not so juicy as they are now. That’s the only difference between 5 years ago and now really and the fact that people are finally realising the concept of DSP to be done outside of the computer’s processor is a dated one, with the exception now of UAD. Things seemed to change faster in those days than they do now. I’ll always remember that when we touched on audio capability, Ian asked me about plugins. We were chatting about computers with audio capability and I guess the first DAW. I think we had lots and lots of backing vocals and he wanted to keep all the harmonies separate, triggered of course from the Atari ST running Cubase. ![]() I remember once I was on a session with a producer called Ian Green at Metropolis Studios, and we were using a rack of Akai S1000 samplers so high, they were taller than Ian, although he isn’t the tallest bloke in the world! Obviously, the more samplers you have, the more outputs to plug into the desk and more importantly, in those days, the more sample time you had. Towards the mid-nineties Macs were creeping in, they were better computers, even better than the Atari ST 1040 model they had colour screens and it wasn’t long until we had the capability to record and edit audio to a degree. So back then, Cubase was my sequencer of choice and I zipped around on it like lightning as I knew it so well. I think before Notator, it was called Creator but let’s not go there! Speaking of Apple, in those days Macs were quite new on the music production scene and Atari STs were always thought of as more stable, and they were rock solid, timing-wise. Later on Emagic changed the name from Notator to Notator Logic then finally settled at Logic, long before Apple bought them out of course. Cubase on the other hand was a lot more intuitive, giving us the ability to drag, drop, copy and paste blocks of midi information. ![]() From what I remember, Notator looked like the event list in Logic and that was it. The two most popular sequencers were Steinberg’s Cubase and Emagic’s Notator.
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