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Bob Olhsson

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Everything posted by Bob Olhsson

  1. The Digidesign method (that Steinberg kept after Cubase stopped requiring Digidesign hardware) has a down-side in that it originally assumed that files would rarely be transferred to another disk. While encoded audio file ids and a graphics cache are intended to work around this, they don't always work which can become a huge timewaster.
  2. Everything seems to have stopped over the past year which is not surprising. All things being equal, single core speed is a good indicator. What isn't equal are different generations of CPUs with varying floating-point performance.
  3. It's simply that the important numbers for what we do never seem to get published. Take a look at https://www.soundonsound.com/techniques/pc-benchmark-tests https://www.facebook.com/dawbench
  4. DSP is all math. The only meaningful specification for DAW performance is the number of floating-point calculations per second available in real time. Core count and processor speed are not meaningful other than for rendering/bounce speed. Hopefully at some point people will start testing and publishing DSP calculation speed rather than rendering/bounce speed.
  5. Here's a link to my recent AES interview: https://www.aes-media.org/sections/pnw/pnwrecaps/2021/feb2021/index.htm
  6. Intel Xeon CPUs require ECC memory! My understanding is that memory errors are exceedingly rare today and ECC memory increases latency.
  7. My understanding is that Robin Lobel has always owned SpectraLayers and had a distribution deal with Sony. I suspect that deal was acquired with the other Sony software and when it expired, Lobel moved to Steinberg because Samplitude already has a spectral editor and Cuebase/Nuendo is by far the most widely used DAW.
  8. The only part of the media creation market that's growing is video and it's growing like the audio market was twenty-five years ago. Cakewalk was willing to embrace Microsoft's new technology ahead of others but I can't picture Microsoft having the slightest interest in any DAW. Apple acquired E-Magic and whatever Macromedia called Final Cut back when it looked like both Adobe and Avid were about to bail rather than embrace system NeXt.
  9. Sad to say, the lifetime updates will make it next to impossible for them to sell it. It's also very likely that they had been trying to sell it for some time. I've known a number of people who were successful audio developers and none of them made very much money other than a handful when they sold out to large corporations twenty years ago.
  10. That's how it works in Pro tools but it hadn't occurred to me it would be available in the Wave-Editing Plug-ins.
  11. I haven't tried that yet. It also didn't allow me to save so I think there may be some kind of permissions issue.
  12. Is there a way to also add iZotope RX to that menu? Sometimes it works better than Spectral Layers and vice-versa.
  13. I'm editing and mastering an album that was converted to 192 from DSD. I'm finding it is far less stressful to the computer compared to 96 than I expected.
  14. Gibson owns Tascam. I seriously doubt that they own Philips.
  15. I remember reading that Samplitude began using the Windows Logic Audio MIDI engine a bit before Apple bought Emagic. Does anyone know if that is true?
  16. That's the infamous "next room" effect. Mixing errors that weren't noticed are often blatantly obvious when listening from the lounge with the control room doors open.
  17. By the way, hearing loss begins at birth starting in the midrange and progresses over time with more exposure. It is not a loss of high frequency bandwidth and is not a matter of age or sex which was believed decades ago.
  18. There is a funny story about the EBU spending a fortune developing and blind testing a lossy audio codec only to have some guy in Los Angeles spot an artifact on loudspeakers that was blatantly obvious once people had been told what to listen for. My own jaw-dropping experience of this was a codec demo in a painfully live convention hall. The presenter wasn't sure we'd be able to hear any differences due to the horrendous acoustics. To our amazement what had been subtle in his mastering room was blatantly obvious over the PA system.
  19. Headphones aren't nearly as demanding of low distortion as speakers in a live room! This is why most club DJs won't use mp3s.
  20. Sony and Panasonic refused to go above 48. Not as bad as Panasonic refusing to allow a bit-perfect accuracy spec. but...
  21. It's unfortunate that some people's manhood seems threatened by the possibility that 44.1x16 might not be enough. Back when the CD was introduced, none of the top DSP engineers thought it was enough which was why the Society of Motion Picture and Television Engineers insisted that a higher sample rate be made standard. We wound up with 48k x 20 bits as a minimum standard for professional production.
  22. My experience has been that when plug-ins offer an up-sampling option, they never sound as good as simply working at a higher rate.
  23. All modern A to D converters operate at high sample rates and then down sample to a stream or file format. It's really all about when, how and by how much to down sample.
  24. The reason for working at 96k is to minimize signal processing artifacts down in the lower midrange part audible range.
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