Sound card for MacBook. Working with sound on the Macintosh platform (Mac OS X)

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It is no secret that the Mac platform throughout the civilized world is considered one of the most reliable and easy to use, there is a lot of evidence of this. I am one of many happy Macintosh owners and users. Since my life is connected with sound and music, this article will focus specifically on the specialized use of a Mac as a music workstation. And we’ll start, perhaps, with the Mac OS X interface.

So, the desktop and its appearance (Fig. 1).

The interface is slightly different from the usual Windows one. At the top there is a menu bar that seems to be universal for programs. That is, if a program is active, then the buttons at the top correspond to this particular program. The apple in the upper left corner performs the same function as the Windows start button. Below in the picture you can see many beautiful icons, this is the dock - we can place shortcuts to frequently used programs in it. The dock can be placed in any of three screen planes - left, right, bottom. You can also customize it for yourself.

A lot has been said about the fact that virus attacks are practically not dangerous for this OS. In order to “catch” the virus, you need to try very hard. Disk defragmentation, cleaning the registry, programs freezing or their unstable operation - all this can be practically forgotten on Mac OS X. That is why professionals from all over the world prefer Macintosh.

Now let's move on to the sound part of the computer. The factory delivery includes integrated sound, which, by the way, is quite high quality compared to a PC. You can visually view the sound settings through the “System Settings” utility (Fig. 2 and 3).

Here we can configure the audio input and output, check the signal level through the microphone and adjust the sound effects.

Integrated sound is of course good, but we are professionals and work on professional audio equipment. How to set up a professional sound card in Mac OS X? Everything is very simple - if your card is external and connected via USB or FireWire, then simply connect the device, install the software, if any, and the card is installed. I have an M-Box2Pro card, and in “System Settings” it is displayed as in Fig. 4.

The card also appears in the list for selecting audio input/output devices (Fig. 5).

Installing the software is quite simple and easy. Mac OS X provides two installation methods: this is the traditional one (Fig. 6)

and using the “drag and drop” function (Fig. 7).

All installed programs are located in the “Programs” folder on the system drive (Fig. 8).

If you moved the program shortcut to the desktop, then there is nothing wrong with that, the program will be functional and nothing will change in this situation, it’s just that this shortcut will no longer be in the “Programs” folder. But if you delete the shortcut to the trash and then empty it, then in this case the program has already been permanently removed from the system, and you will need to re-install it. This is how you uninstall software in Mac OS X in a simple way.

Plugins and codecs are located in the “Libraries” folder (Fig. 9).

Perhaps, let's move on directly to using programs for creating and processing music. On the Macintosh platform I use two main programs: Logic Pro 8 and Pro Tools LE 7.4 (Fig. 10, 11).

A little about the features of setting up a sound card in these programs. The fact is that in Mac OS X there is no such thing as ASIO drivers and dll files. There is an opinion that the output sound quality on Macs is better than on PCs running Windows. I am not a programmer, and I will argue from a logical point of view. Everyone knows perfectly well that for a sound card to work properly on a PC, you need to install drivers, and the quality of the output sound largely depends on the supplied drivers. There are standard WDM drivers and professional ASIO drivers. The latter provide comfortable and professional work with sound under Windows OS. As a result, this is still a connecting link, which can degrade the sound quality. If I'm thinking incorrectly, please correct me.

In Logic Pro 8, audio devices are displayed in this way (Fig. 12):

As you can see, there is no information about the delay in milliseconds and ASIO drivers. We can conclude that the card is tightly tied to the system without any middleware, and there is no latency at all. I can give a practical example as proof. I am a member of a jazz band, I play keyboards, and my MacBook in conjunction with M-Box2Pro is simultaneously a synthesizer, compressor and processing for guitar and saxophone based on the MainStage program, which is included in the Logic Pro 8 package (Fig. 13).

So, during the game there is no delay at all, there are no freezes and glitches characteristic of the Windows OS, despite the fact that at the same time the guitar and saxophone are recorded in Pro Tools.

I will briefly describe the features of working with programs in Mac OS X. I work on two video monitors, this is very convenient when working with Logic and Pro Tools. The editor window is located on one screen, and the mixer is on the other. If in Windows the program and the modules attached to it formed a single whole, then in Mac OS X, how can I put it correctly, the program consists of modules independent from each other (Fig. 14, 15).

This is very convenient when you need to place additional program windows, or when two or three audio programs are used simultaneously.

I would like to note one more advantage of Mac OS X. When working in Pro Tools on a PC, it is almost impossible to work in parallel, for the reason that Pro Tools completely takes over the priority for using the sound card and Cubase remains completely incapacitated. You have to close one program, then open another, which takes time, nerves and slows down the creative process. Mac OS X users are deprived of such inconveniences. I can easily record parts in Logic with Pro Tools open, then convert the tracks to wave and then edit them in Pro Tools. The programs do not interfere with each other at all.

In this article, I've highlighted just some of the benefits of using Mac OS X for music. I would like to wish everyone to experience the convenience and ease of working on the Macintosh platform.

Comments (30)

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egormidi - Stupid! Does anyone have ESI Julia running under MAC OSX??? (PCI card)

I’ve been picking up sound for a week now... although the package includes a disk with software for Mac....

I would appreciate any advice [email protected]

SlayerDUDE - VGM, busy, but I look at you and laugh) one is, like, smart, and the other is stupidly late) since you are both smart, maybe you can share your smarts with us, ordinary lamers? or are you not smart enough to do this? I wish I had asked this 2 years ago...

As for the article, everything is described here rather superficially, which means it’s not very informative, just to get acquainted with working in a poppy in general terms...

Vlad, you’re driving yourself) no one here compares anything with fruit, don’t be stupid bro, in order to transfer individual windows of the cube to another monitor, the main shape of the cube itself will also have to be stretched, don’t forget that in the poppy there is a cube and that’s the difference - the Mac does not have that same main form, which means, as mentioned in the article, all the window modules that make up the program do not depend on any common window... by the way, a clear example of the main form limiting the arrangement of modules is Photoshop - run it on PiSyuk and on a Mac, and I think I don’t have to explain anything else)

Nikita - Friends, I need advice! Please tell me which external sound cards (suitable for recording guitars and other musical instruments) are compatible with MAC OS X LION. There is no desire to downgrade the OS version, and my Emu 0404 usb does not have drivers to work with Lion. There is a way to reboot a Mac in 32-bit mode, but I would like to have a sound card that would work without such shenanigans... I would be grateful for any help! [email protected]

Sergey - there is no delay only when you play the instrument without processing. It’s worth hanging the tool for reception in the bus side chain and there it is, right there. The poppy hangs quite well when using professional equipment, for example, with a power core. The tools bar in the logic is absolutely ill-conceived compared to Cubase. The sound cannot be better by definition. There are many nuances. for example, there is no uad support. IMHO it wins with strip chanels. Due to the calculated presets, the sound does not fall apart at the beginning of the arrangement. All you have to do is reset them! I spat on the cube, now I’m swearing at Logic. and only the beloved samplitude does not cause any complaints.

It's an awkward feeling...

As a musician, I've heard many times that Apple computers are the best for audio work. As a key argument, a certain famous musician was often cited who was spotted with a laptop from an Apple company. But to the question: “Why is a Mac better than a PC?” - almost no one can give a clear, reasoned answer.

Creative people don't tend to delve into how their equipment works; they just use it. This often serves as the basis for all kinds of prejudices and misconceptions. I will try to dispel at least some of them.

At the moment, in terms of the number of professional music software, the leader is, followed by Mac, and somewhere behind, Linux is hopelessly lagging behind. Therefore, in reality, the choice is only between two platforms. Both have a lot of supporters and opponents. Moreover, opponents, basically, are such only out of a desire to justify their own choice and not seem fooled, because only a few delve into the fundamental differences in the processing of sound by these systems.

Delays

Why are delays critical? If you're just playing an audio file, then a 20 millisecond audio delay doesn't make any difference, but if you need software monitoring when recording or processing audio, it's "death." The musician simply loses connection with the instrument (or voice) and ceases to feel it. Mac OS has a wonderful technology called Core Audio, which makes it possible not only to deliver sound from the sound card directly to the application (with minimal latency), but also to share the same audio channel in several applications and synchronize audio streams. On Windows things are much worse. It is impossible to achieve acceptable audio delay using built-in means. There is a technology for this called ASIO from Steinberg. This is a third-party driver that is not built into the system (a kind of “crutch” bypassing the standard audio stack architecture), and it does not work as stable as native technology. In addition, ASIO works on a limited number of sound cards.

Operation stability

One day we were collecting material at one of the studios. All work was carried out on a computer with MS Windows (XP) and Pro Tools installed. Everything sounded very good (it’s not for nothing that Pro Tools is considered almost the standard for working with sound). We wrote batch after batch and, as they say, there were no signs of trouble...
But then it came to the vocals and, holding our breath, we began recording. The vocalist did a great take the first time. As they say, he revealed himself to the fullest! And imagine our surprise when we pressed play and heard only silence. The sequencer showed the recorded track, but there was no sound. The problem was cured by rebooting, but the residue remained. What upset us was not so much that we paid the studio for the time we worked and in the end simply lost money, but that we didn’t get a second vocal part like that. Yes, we rewrote the vocals, but it wasn’t the same. By the way, this has never happened to me on a Mac, although I wrote many times more tracks. All the problems that I had were due solely to the performance of the hardware itself. For example, lack of RAM. At the same time, I do not give my precious resources to various antiviruses, firewalls, etc.

The careless brainchild of Bill Gates presented us with unpleasant surprises on stage during performances. In our music, in addition to live instruments and vocals, we used electronics. Everything was played from a laptop running MS Windows (7) through the Ableton program. It seemed, what problems might arise during normal playback of a minus? But it was not there…
Sometimes during the performance of a song the sound would suddenly disappear. The treatment was, as you guessed it, a reboot, but I don’t think it’s worth explaining how it looked from the outside... The impression of the performance was blurred. In addition, Windows does not reload very quickly, and we had to fill the pauses with impromptu songs. Of course, I persuaded our “electronician” to change the platform, but unfortunately, I was not successful in this. He did not understand the technical subtleties, and on an emotional level I was not convincing enough for him.

Epilogue

To summarize, I want to say that Apple computers are not common in our country mainly because of the relatively high price. Professional musical equipment is expensive, and our compatriots are trying to save on at least something. But, as they say: “The miser pays twice.”
There is also a category of people who see Apple technology exclusively as so-called show-offs and, purely on principle, do not want to “have anything to do with it.” I feel sorry for these people the most. Not only do they lock themselves in the cage of their prejudices, but they also tirelessly try to teach others, imposing their point of view on them. As for me, I gave up using Windows in my musical activities a long time ago and have never regretted it. At the moment I'm experimenting musically with iOS devices, but that's another story.

Komissarov Vitaly

External studio sound cards(audio interfaces) are more focused not so much on listening to music, but on creating it, not to mention a wider range of applications, including functions for simply listening to music, applications for games, movies, voice telephony, etc. The main characteristic of such an audio interface is the transmission and playback of audio recordings in their original form without processing, overtones or “improvements.” This is exactly what you need for studio work, but ordinary users can also appreciate this sound. Thanks to a separate housing, the external sound card is maximally isolated from interference and interference that is inevitable with an internal connection. Connection to a computer is usually made using USB (2.0 or 3) or FireWire, many support advanced control using external MIDI devices and have a full MIDI interface.

Since an external audio interface is more intended for sound recording, this is its priority: the case usually has from one to dozens (and even hundreds!) of inputs, and there are not only professional studio XLR and TRS connectors (often combined), but also household ones “ 3.5 mm minijacks (1/8” TRS), and popular RCA (so-called “tulips”), not to mention digital inputs and outputs. An external sound card can also have analog inputs and outputs from one stereo pair to dozens, and usually these are RCA and/or 1/4" TS/TRS Jack. Models in the middle and higher price segments almost always have digital inputs and outputs on board. The quality of internal converters for such audio interfaces today usually varies from 16 bit/44.1 kHz (but very rarely) to 24 bit/192 kHz. An external sound card for a home recording studio with such parameters is usually more than suitable not only for recording at home. studio, but also everything else listed above. Multi-channel recording and playback are not left out: a modern audio interface with multiple outputs can usually connect several speakers with channel separation for surround sound systems. Finally, professional external sound cards offer a large number of external controllers: channel. volume control with sound level indicators, input type switches, separate headphone outputs with their own control knobs, etc.

By the way, if you want to buy an external sound card, we warn you against buying very old devices: this is associated with both the risk of the manufacturer ceasing support for this product and releasing new drivers for new OSes, and with their not entirely comfortable use, taking into account the increased requirements of users and technology in general today. In our catalog you will find a large number of current audio interfaces from well-known and respected manufacturers of various price categories.

A step-by-step guide on how to twist together 2 different audio interfaces into one under MAC OS X without a soldering iron or additional wires. I think it will be useful for disc jockeys and sympathizers.
**If the introduction is not interesting, you can immediately scroll to the 2nd picture.
A certain amount of time ago I decided to try making music. And as a child of the era of computerization and a Mac nerd in one bottle, the first thing I thought was that this needs to be done in the right software. Ableton was chosen as the subject (although this is not at all important). But it became clear that audio output alone would not be enough. In the correct situation, 2 channels (stereo) go to the master output (the one in the “hall”), two to the headphones (so you can listen to the track or instrument before mixing). Of course, you could skip the hassle, wire up a regular mini-jack into two mono channels and practice mono. But this idea didn’t catch on, because, firstly, it wasn’t comme il faut, and secondly, I didn’t want to solder at all then. I thought that I could just buy a cheap USB audio card and get all the missing goodies for about 350-600 rubles. Then just configure Ableton so that it outputs the masters through the built-in sound, and then connect the headphones to the external card and drive it, drive it (including the neighbors crazy).
But it was a shame when it turned out that in the settings of all sequencers you can select no more than one device.

Therefore, it turned out that behind the apparent simplicity and obviousness, the idea quickly burned out, and therefore was abandoned. Then several years passed, my job changed, and the opportunity arose to acquire an expensive (professional) interface (which was later sold as unnecessary), without bothering with USB witchcraft. Nevertheless, not everyone has the desire or even the opportunity to part with their hard-earned 3,500+ rubles.
Not long ago I bought myself a Creative Sound Blaster X-Fi HD card. Only so as not to inadvertently break the head of the standard 3.5 mm connector on the beech (you never know what could happen, it would be a pity). It is nice, has good characteristics and works without any problems (except for the inability to use all sorts of enhancers that are available from Windows using the bundled software). Using her example, I’ll tell you how, by spending a little time and money, you can get the opportunity to use 2 different audio interfaces simultaneously under MAC OS X (using OS X 10.7 as an example).
So, for the trick you will need a poppy, an external card, 5 minutes of time.
First, let's connect the card to the computer. Next, go to /Applicons/Utilities. There you will need an audio and midi configuration utility.

If the card is connected correctly, then after launching the utility it will appear in the list of available audio devices. In my case it is USB Sound Blaster HD.

At the bottom of the list are menu buttons. You need to click on the plus and create an Aggregate Device (I don’t know how it will be in the Russian localization, but there shouldn’t be any problems).

After which, “Aggregate Device” appears in the list of devices with an icon in the form of a large positive electron. In the menu on the right you need to select the devices that need to be combined. I decided not to waste time on trifles and combine all linear inputs and outputs. If desired, Aggregate Device can be renamed. Which is what was done.
Ready! Now you can run the program and see that you can select a newly created interface from the list.

Pros:
- Low cost
- Easy to set up
Minuses:
- The only “BUT” is that with such a combination of devices, the total sampling frequency and bit depth of the output signal is limited by the smallest of the devices. In the case of inexpensive cards, this is 44,100 Hz, 16 bit.