#Apple mainstage windows driver
Why are playback buffers, driver stability and integration seemingly only a priority for a few high-end brands? It must be in everyone’s interest to have an integrated system that is tested and rock solid.
#Apple mainstage windows software
Software systems must match hardware in the reliability department, simple as that. Could it be the idea of using software live is ‘sexy’ and sells units, but the back-end task of making it function solidly is not? It seems we are being sold a concept in the software instrument world rather than a functioning solution.
#Apple mainstage windows full
So, if both hardware and software instruments have their advantages, why can’t we use a hybrid rig that features the sonic and practical benefits of both worlds without the unpredictable dangers? The technology is there, but what is the missing link? I don’t want to schlep an expensive rig full of road-cased Receptors and two mirrored Mac Pros to a local blues jam every Friday as a precaution. Sorry, is this 1998? €10 at a computer store buys you more memory than most hardware workstations provide! More importantly, are we expected to buy a totally new keyboard to obtain a few new sounds? Yes, you can download extra sample libraries later, but must we pick teams? Keyboard users will fret over which sounds to load with their remaining 256MB of precious memory. These advantages, however, still blind us to the fact that manufacturers provide us with a downright stingy amount of sample and user memory. Let’s not forget that hardware keyboards from the big boys like Yamaha, Korg and Nord also sound amazing, and are self-contained, robust systems. Isn’t that the point? And isn’t your Nord piano also just a computer and keyboard at its core? But soft instruments are supposed to be used live and in real time, I assume. Your Nord Piano 3 does not face these daily challenges. Despite the daily complaints from keyboardists, MainStage is revolutionary, even if it’s still constrained by an open system that must cater for a plethora of third-party plug-ins and hardware, not to mention an operating system taxed by Netflix or family holiday video editing. A downside to this, however, is having to really plan your concerts in advance as they won’t always work out of the box without some setting up. They are affordable, customisable and, combined with MainStage’s intuitive MIDI management, layering, assignments and horse power, they would send many hardware equivalents packing. It’s easy to see why some don’t just take the easy hardware-only road - the latest software instruments sound really, really good. Why is such a vital issue the number one fart in the room of the keyboard world? For some it works perfectly, for others, horribly. On delving a little deeper into this topic I was surprised by how unpopular this approach seemed to be. Hearts sink, and we ask ourselves: why do we persist with software instruments on stage when they consistently rob us of our sanity?
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Then, just when you reach the most sensitive part of the set, it suddenly causes catastrophic problems. You’ve got your perfectly crafted MainStage set, refined and tested in a wind tunnel the day before the show. Keyboard players, tell me if this sounds familiar.
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