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It’s the quality that counts, however, not the quantity, and although Logic’s Retro Synth and Vintage keyboards are well worth shouting about, the older ‘ES’ series – ES1, ES2, ES E, ES P and ES M – EFM1, Sculpture and EVOC 20 synths, and Ultrabeat drum machine are showing their age. To get the numbers out of the way first, Live 10 Suite bundles 13 virtual instruments (three of them Max For Live devices, and DrumSynth comprising eight separate ‘kit piece’ instruments), while Logic Pro ships with 21 of the things. This seemingly innocuous little Clip View control panel gives producers and live performers the means to automate and randomise clip launching within Scenes – something no other DAW can do. Vertical ‘scenes’ work just as they do in Live, but unlike Live, you can have both the Grid and Arrangement open together in the same window.īefore we mail the trophy to Cupertino, though, Live still has one feature that keeps it firmly at the top spot for on-the-fly loop recording and launching: Follow Actions. As you’d hope, it offers the same bidirectional exchange of clips between it and the main arrangement, and you can record your clip launching performances directly into the Tracks view, too.
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Just as Ableton have since had to work up Live’s Arrangement View in order to address public perception of the DAW’s emphasis on loop-wrangling, so Apple have very recently (in version 10.5) added a full-blown Session View-style clip-launching interface to Logic Pro – and very nice it is too! Having been part of the iOS version of GarageBand for over four years, it was expected that the Live Loops Grid would at some point end up getting ported to its professional Mac sibling, but we’re nonetheless blown away by the seamless embedding of the new system into Logic’s well-established interface. … although, once again, it seems Apple have been watching Live’s Session View developments closely (Image credit: Future) With that new-found dualism in mind, this one comes down to whether or not you prioritise (Live’s) transparency and lightning-fast workflow over (Logic’s) sheer editing power but to our minds, Logic takes the audio handling crown. With Logic Pro now boasting its own well thought-out and tightly integrated take on the same concept in the shape of the Live Loops Grid, however, that edge has been blunted. Multitrack recording and punching in/out are obvious givens for both DAWs, but when you’ve got those clips on the page, Logic affords greater control over them, whether you’re applying natural-sounding pitch correction with the excellent Flex Pitch, or building the perfect vocal take with swipe comping.Īnd, of course, prior to Logic Pro 10.5, Live had a unique and compelling selling point in the ability to record loops in the Session View for non-linear jamming and experimentation.
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… but now with its own take, Logic wins the audio crown (Image credit: Future)Īs with the MIDI side of things, though, Logic’s long development history and more expansive architecture yield a wider range of audio recording and editing bells and whistles than you’ll find in Live, and if your recording needs are of the more demanding kind – ie, a full band, or even just guitar and vocals – it definitely does the ‘virtual recording studio’ thing rather better. Winner: Logic Pro Audio recording and editing In fact, it’s only been added to over the years with a raft of worthy new MIDI features, the most notable being Logic Pro 10.5’s superb Step Sequencer. Defying the popular assumption that their buying of original Logic developer Emagic in 2002 would lead to a dumbing down, the fruity tech Goliath hasn’t removed a single MIDI-related feature – it’s all still there, from the Environment and Transform module to the Dynamics, Gate Time and ‘Q’ settings in the Inspector. On the other hand, Apple are to be equally commended for maintaining the formidable complexity for which Logic’s MIDI architecture has always been known. Very rarely do we find ourselves wishing for any specific MIDI editing feature in Live that can’t easily be worked around – with the possible exception of an event list, as being able to filter and alter MIDI data numerically would be hugely useful.
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Indeed, Ableton have done a sterling job of keeping this fundamental part of the system free of clutter. … whereas Logic treats users to an increasingly full selection of composition options (Image credit: Future)įor most Live users, however, none of that matters – the MIDI programming paradigm, and the contemporary producer’s technical expectations, have changed a lot since the 90s, and most won’t even be aware of the things that their DAW is ‘missing’.
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