Fairlight-CMI

I'm a sound designer (and composer) for video games, starting out in the earlier days and noobs have very little idea of restriction. Yes, we still work within strict limitations but nothing like it used to be. I do like restrictions though, it makes me think outside of the box and even with today's lesser restrictions I am quite efficient at saving valuable and precious memory. I see some crazy and over complex things being done by noobs when it can be done with less fuss if they thought about it differently.

Cheers,

P

On 9 January 2011 20:27, Peter Kaye <pdkaye@verizon.net> wrote:

Andrew likes being near beer, neither fire, water or plague of locusts could dislodge him.

Indeed (ROTFL)! Maybe less Dr. Bombay these days, but more WC Fields. I can imagine him kicking an alligator trying to pull him off a barstool before he is finished with his beer "Leggo my leg you handbag!"

In comparison, the day in day out reliability of the laptop/Logic combo is quite dull.

Not to imply the CMI was delicate... all things considered (but then I didn't have 5 of 'em), the complexity, size, weight, heat generation and then often being carted hither and yon, the beautiful beasts were reasonably reliable (a girlfriend of the time called my CMI her "green-faced competition").

I can still find plenty with DP, PT, sample culling and software synth tweaking to faff about with if I am looking to procrastinate. And thinking of that, the restriction of 16 monophonic polyphony that Page R provided forced a form of pre-editing that trained efficiency (hold it, let me put my teeth in), lessons that these kids today, blessed with infinite tracks and voices, could use a bit of, me sometimes thinks (gramps is going to bed now).

PK