Fairlight-CMI

This is an interesting one. I see students doing track inefficient things in Pro Tools to do things that we would've achieved more efficiently in the olden days, but would've taken a good bit longer and would be less easy to control. So I take the view that the gigabytes and high track counts are there, so use them any way you like to achieve your vision. The efficiency should be in the time it takes, not system resources.

--- In Fairlight-CMI@yahoogroups.com, Peter Connelly <peter.connelly@...> wrote:
>
> 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@...> 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
> >
> > 
> >
> 
> 
> 
> -- 
> Peter Connelly, Director
> Universal Sound Design Ltd
> www.universal-sound-design.com
>