When I very first started in the olden days (early 902s) we all used Atari ST’s with a whole 512k of Ram for sequencing Midi and not much else. Obviously all audio was dealt with using 24 track 23 tape with up to 3 slaved together synchronised with lynx synchronisers. Back then for sampling, we had the classic Akai S900 and S950 and later the Akai S1000. I went freelance as an assistant as soon as possible as I got on well and was in demand from engineers and producers but didn’t get on so with with the management who ran the studios. Lisa and Maddy at the Roundhouse were the exception there – they went on to manage me when I went freelance as a mix engineer.
Cubase as it was in the early 1990’s
The two most popular sequencers were Steinberg’s Cubase and Emagic’s Notator. from what I remember, Notator looked like the event list in Logic and that was it. Cubase on the other hand was a lot more intuitive giving us the ability to drag, drop, copy and paste blocks of midi information. Later on Emagic changed the name from Notator to Notator Logic then finally settled at Logic long before Apple bought them out of course. I think before Notator, they were called Creator but let’s not go there! Speaking of Apple, in those days Macs were quite new on the music productionscene and Atari ST’s were always thought of as more stable, and they were rock solid timing wise. So back then, Cubase was my sequencer of choice and I zipped around on it like lightning as I knew it so well.
Towards the mid 902s 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. I remember once I was on a session with a producer called Ian Green at Metropolis Studios and two things stuck out; the fact that we were using a rack of Akai S1000 samplers so high, they were taller than Ian – he isn’t the tallest bloke but still. 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. 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. We were chatting about computers with audio capability and I guess the first DAW. I’ll always remember that when we touched on audio capability, Ian asked me about plugins. I looked at him with a blank face because I had no idea what plugins were!
When I look at these dates as I’m writing this, unless I’m way off, things were moving FAST!!!! I think now with my 8 processors in my Mac Pro where five years ago it was a dual 1.8 PPC, I’m still doing the same thing on it, i’m just not thinking so hard about being economical with plugins and the plugins then were not so juicy as they are now. That’s the only difference between 5 years ago and now really. That and that people are finally realising that that the concept of DSP to be done outside of the computers processor is a dated one. Avid (used to be Digidesign) have a new generation of gear out now along with their Pro Tools 9. I really must make the effort to see what they have come up with. I do know that Pro Tools 9 software works on any audio interface which should be good news for some.
Okay went slightly ahead of myself there, sorry about that – back to the olden days; as macs were used more and more, Emagic Logic was emerging and at one point overtook Cubase, there was no question of that, because for some reason Emagic Logic and I think around version 3 was much better on a mac than Cubase was on a mac, and by this time, macs were the way forward. People then were mostly either using Cubase on an ST or Emagic Logic on a Mac.
Logic Pro 9 as it is now in 2010
Around about this time I could see macs running Logic were much better than Atari ST’s running Cubase so I switch and had to learn Logic. I learnt Logic by changing all the Logic key commands to Cubase key commands. I was amazed you could do that at the time and it certainly gave me a head start. 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. By this time a dial-up internet connection was usually in most studios’ office and I thought I was 1 bad ass ground breaking mofo! For many years Emagic Logic on a Mac was by far the best all round DAW. Cubase had lagged behind massively, the MIDI in Pro Tools was appalling and Ableton was in its infancy and no one had heard of it. There was a period when I beta tested Logic for Emagic, which means that they would send me updates first before releasing them to the public to go over, and give them my feedback – I would try and make it break by pushing it as hard as I could, tell them the results of the tests and also tell them if I thought any of the new features were any good. In 2002, Apple bought Logic from Emagic so that all stopped and I guess they have guys in white coats beta testing full time. You can tell this because of some of the stupid features they come out with, like the comp tool and the loop end tool to name just a few. AND WHY CAN’T WE STILL AFTER ALL THE YEARS NOT ADJUST THE SIZE OF A REGION FROM THE LEFT??? Anyway, I’m not here to grump but I think if they had more people actually making music involved in the development, it’d STILL be the obvious choice DAW but it isn’t now.