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Old 2005-08-24, 10:47
XtrChess's Avatar
XtrChess XtrChess is offline
Join Date: Sep 2004
Posts: 3
People...People...People Please get a grip on Technology

Remember when gaming 1st really got started and everyone was looking for ram.


Video was pixelated, and going at a slow frame by frame speed.

Then you find out that the problem is a FSB issue. Surprise, it didn't matter how much RAM you put in because the bus couldn't handle the speed to utilize it.

Then out of nowhere ATI puts a separate processor on the Video board and everyone gets 3D at true gaming speeds.


This whole music production thing is similar.

I'm seeing " faster CPU, more RAM RAM RAM... again, "Whats it gonna take to get a super computer?"

Now they have processor sound cards that crunch all the 24 bits you can give it.

Go check it out.

You don't need to build the "Ludicrous Speed" computer to get the production power you just need to do a little research on sound cards, how they operate, whether they have a clock for SMPTE or whatever.

Start by looking at the System Requirements for optimal use not the minimum. Read the Audio portion carefully. Don't stop just because you see a catch phrase like "24 bit processing"

You need to know the VSTI requirements, you need to know the ASIO requirements etc. If you are not sure what those mean then start by learning that. What does MIDI mean, does you card support it?

Anything that reads like "Upto blankity blank channels" you need to know why they are saying "Upto", "Low Latency" what does that mean? If you don't know then you need to do some research.

Quit assuming that if you buy the latest, "It just came out!" that it is going to work for you.

Most of the manufacturers of computer parts are just laughing all the way to the stock brokers office.

I agree it is alot to determine and configure, that is just part of music making, always has been.

In the old days people talked about Microphones, types, placement, etc. Transport, Timing, filtering, Q, not cue, You still need to know that too.

The biggest mistake you can make is assuming that someone else figured that out for you. It is not plug and play. The number of inputs are driven by the number of outputs you have to work with. In some cases it may take several recording steps to get one sound engineered they way you are hearing it in your mind, preproduction.

We are creative, does it not make sense that you could be trying to do something that is beyond the current tools at your disposal. Okay, so how can you still get what you want to hear knowing the instrument cannot do it without doing some other process first? How can you trick it to get what you want?

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