ok, so i've got the machine installed, finally. i still have some filing to do, though.
i need a nap...
Thursday, June 3, 2021
let me put this all in one place in case there are questions about it, and i'm going to do it running backwards from the order of last modification.
when was the last time i altered these releases?
early 2018:
inri068 & inri069: constructed over late 2017 and early 2018 from tracks finished over 2014-2015 and written over 1996-2003.
late 2017:
inri026, inri031, inri034: remixed from orphaned demos from 1999
inri030, inri038: constructed from mixes done over 2015/2016.
inri042: constructed from 2017 mixes of 1999/2000 material
inri043, inri044, inri047, inri050: rebuilt from midi over 2014 by adding extra recorded parts, final mixes added over late 2017.
inri048: recorded more or less from scratch over late 2014. extra mixes from 2014 source added over late 2017.
inri055, inri056, inri058, inri061: demos from 2001/2002 were completed over late 2014 by adding extra recorded parts. extra mixes added in late 2017.
inri065: midi file completed in may, 2015 by transcribing demos from early 2003, which was then used to build multiple extra remixes. last mixes complete in late 2017.
inri071, inri072, inri073: compilation from 2015 of tracks completed by that date, but updated in late 2017 with more appropriate alternate mixes
inri074: initial version from 2003 was stripped of samples in late 2017 and added as a hidden track. will also appear that way on trivial group 2xlp.
over 2016:
inri004-inri015 & inri017-inri022 & inri024-inri025: this is the proper inri/inriched release cycle. remastered, with much difficulty due to interference from some unclear source, over the summer and fall of 2015, and finally remastered and rebuilt with many stops and starts over the course of 2016. the first singles were finalized in january, 2016 and the last comp was finalized in december, 2016. minimal midi parts and one new vocal part were added in this time frame, as well.
late 2015:
inri066: all ry30, soundblaster sequences and jx8p tracks from the late 90s or early 00s. some added sequencing and production work from late 2015.
early 2015:
inri035: mix tape constructed from material recorded 1996-1999.
inri046: lead mix finished in 2006 from files written in 2001. extra mixes added in 2015.
inri049: a new ambient mix was created in may, 2015. all other files are unaltered from late 2002.
inri062: new recorded vocal mix added to demo from 2002 in may, 2015. all other mixes from 2002/2003.
inri063: 6th lp. final version compiled from material remastered and finished over 2014/2015.
inri070: soundblaster & vst renders of material written before 2003, as output between 2014-2015.
late 2014:
inri052: 5th lp. final version compiled from material remastered and finished over 2014.
inri054: remixed, remastered and completed over late 2014. demos from 2001/2002.
inri059: constructed in late 2014 from disconnect parts recorded in mid 2002
inri060: remixed from existing tracks from 2002
inri079: imminent release, hopefully in 2021. but, all tracks for this release were done by late 2014.
early 2014:
inri041: 4th lp. final sample-less version remixed and compiled from existing source material from 1999/2000
late 2013:
inri000-inri001: remastered late 2013. otherwise unaltered from 1996/1997.
inri002: mix tape compiled in 2013, from source material from inri000-inri001.
2003-2013: black hole to be filled in.
2004
inri078 - demo tape from 2004, released as is in 2019
2003
inri075, inri076, inri077: unfinished demos from 2003 as of now.
2002:
inri053: released in 2014 and again in 2017 from unaltered 2002 files.
inri057: released in 2014 from unaltered demos from 2002.
inri064: released in 2015 from unaltered demos from 2002.
inri067: releases in 2017 from unaltered demos done from 1999-2002.
2001:
inri045: files from 2001 were released unaltered in early 2014, and project was closed down due to mysterious disappearance of sheet music attached to it
inri051: released, unaltered, in late 2014
2000:
inri036, inri037, inri039, inri040: compiled and released from existing recordings in early 2013
1999
inri027-inri028: released as is in late 2013
inri029: released as is in late 2013 and expanded with alternate version from same time period in late 2017
inri032: appended to in early 2014 with existing mixes from the time period, but not otherwise altered since.
inri033: 3rd lp. last trick split off in early 2014, otherwise unmodified
1998
inri016: released as is in late 2013
inri023: compiled from remixes created over 1998 in 2013 and expanded in late 2016
1997
inri003: compiled in 2013, but files unaltered from 1997.
this machine should be installed by the end of the night...
what i was doing yesterday was trying to finish a rough install of the recording pc, before i finished up a number of notes regarding the gear i used in the various places i've lived, with the intent to build emulators out of all of it. i've currently got 3 sticks in the machine and it unfortunately did something when i turned my back that i didn't catch.
so, we're starting the install from scratch, and we're iffy on that third stick...
i was going to do some running around today, but i clearly got distracted. i'm going to make some eggs and get ready for a big day tomorrow, instead.
it'll be nice and warm, at least - nice, hot weekend coming up.
Thursday, May 27, 2021
in fact, that strat is so heavy that it weighs more than my sg:
like, a lot more.
go back to the previous video, though, and check out gorgeous maple neck. like i say: nobody can figure out where the body came from, although it has a typewritten number on the inside of it, suggesting it's fairly old. like, just the font suggests 60s or 70s. but, it seems like somebody put the coronet neck on it.
one hypothesis is that somebody smashed it and put the coronet neck on to replace it, but that doesn't help us understand where this heavy hh strat came from to begin with.
open concept basement bedroom, 1997-1999
- my parents moved across the city in mid-1997, and i lost the soundproof room in the process :(. i lost the drum kit & the tascam in the process, as well. however, i gained a computer with internet access and windows 95 (my previous computer had no internet access, and had windows 3.1. in fact, my first bedroom pc was shipped with ms dos 6.2 and wordperfect, the latter of which was actually reasonable, given that i grew up in ottawa (corel disappeared, but the big adobe building remained a presence in downtown ottawa for years.). i've actually kept up on the old software reasonably well, mostly because i never stopped using most of it: cool edit 96 (https://www.audacityteam.org/), noteworthy composer (https://noteworthycomposer.com/), the windows 95 sound editor, a hacked version of logic that never ran smoothly and a guitar tablature to midi program called "bucket of tab" (https://antisleep.com/bucket) were where i got started on this. but, this pc did not have the resources for even the most basic sound recording.
- i got an ry30 mid summer, to replace the drum kit. my dad was sad; my stepmother wasn't. that ry30 stuck with me until 2003, when i sold it to go to bc. of all the gear that got sold, that's the piece i think i most miss, and i'd love to see a serious attempt to emulate it. i can load samples into battery, but it's missing the point - this was a powerful little drum synth, and i made massive use of it for years, all the way to the end of the rabit is wolf period. that said, the reason i sold it is that i felt i grew out of it, and there kind of wasn't a lot left to do with it. i couldn't justify spending $400 on it given that i can do everything with free plugins nowadays, but i will eventually replace this thing...
if you know where to get an actual vst emulation of the ry30 - not samples of it, but a vsti of the actual machine - let me know.
- a bass reappeared. i don't remember the model. it was green, and played very smoothly, which was necessary because i have freakishly small hands (to this day, i play a mini ibanez bass).
- i actually synced the noteworthy composer sequences with the ry30 parts manually because nobody told me i could sync them automatically. so, it's all very meticulous, but using very simple hardware. i would have had a basic consumer grade soundblaster in this thing, and the initial sequencing is all using general midi. it's for that reason that i went looking for general midi a few years ago and came away with bandstand, by native instruments (a very big company in music creation circles):
bandstand was central to the recordings i did over 2014-2016, because i needed a way to emulate general midi using updated sound fonts. this has been discontinued, and i think it's the last attempt by the industry to save general midi for recording, as it seems that the standard nowadays is to use specific sample libraries rather than a general sound font library (and native instruments suggest the use of kontakt, instead). i think this is unfortunate, myself, as i liked the standardization of being able to take a midi score and plug it into a daw, but the industry doesn't seem to be interested in scored music in much of any abstraction at all anymore and rather more interested in just creating textures out of existing sound. so, the standard nowadays is to sell you this pile of violin scratches, rather than a collection of violins to sequence - and tell you to hire a violinist instead i suppose. but, of course, i still have soundblasters i can track if i need to. i will eventually install kontakt on the 64 bit machine, as the experiments i had with the 32-bit machine were just simply that i needed more ram. but, i actually found that kontakt was unnecessarily inefficient (it loads everything on start-up, even if you're only using a fraction of it) and that the freeware sound libraries actually even sounded better....
i would like to find an update for bandstand, but nobody seems to really want there to be one. this seems to be something people have moved past, and something you're going to need to curate old software for if you want to hang on to.
- the jx-8p & tascam 4-track both show up about this time, with the jx being my only and primary keyboard for years after. this is of course the last version of the roland juno series, and combines analog style juno sounds with more modern digital sounds. the jx has been keyless for years and driven by a dx100, and i've had a midi frontend installed on it for years and never used it, but this is a vsti of it in case i want to sequence it (i could of course sequence it manually, too):
i should also look into something called "zenology" when i get my windows 7 machine back up and can start looking for evaluation copies.
but, i suspect i'll keep programming it with the little window, as that's what i'm used to doing.
- later programs included hammerhead (a 909 emulator) (http://www.threechords.com/hammerhead/introduction.shtml), sound raider (a noise generator) (https://web.archive.org/web/20060721182502/http://www.andyw.com/zip/raider.zip), goldwave (for extra effects processing) (http://www.goldwave.ca/), granulab (https://www.abc.se/~re/GranuLab/Granny.html), coagula (light-sound synthesis) (https://www.abc.se/~re/Coagula/Coagula.html).
- my aunt sent me back a flute from a trip she took to india that shows up on several tracks
- somewhere along the way, the cassette deck stops working properly, and a song is constructed out of it.
- it was some time in late 1998 that my dad asked me to go to songbird with him to help him pick out a guitar for my sister, who was going through a difficult phase. as mentioned, she had been doing a lot of piano playing since she was very little, and now wanted to play guitar and was threatening to run away from home if she wasn't gifted with an expensive brand name guitar (in fact, i think she was trying to get my dad to buy her boyfriend a guitar, and i don't think that ever clicked). so, my dad got baited into buying her a guitar.....which she didn't accept, because it didn't have a brand name on it. and, it definitely pissed him off, yeah. meanwhile, i continued to play my entry level ibanez, right? it's worth pointing out that my sister was a delusional, spoiled brat at this point, but i really never said anything about it. the guitar i picked out has yet to be properly understood by anybody i've presented it to; it seems to have a coronet "batwing" neck, the dual humbucking pickups seem to have been installed manually and the body, while shaped like a strat and built like a paul, is of unclear origin. so, this is a guitar that somebody seems to have built from parts. the reality is that i picked the guitar out from the store because it played better than any other in the store due to the beautiful neck on it; after my sister rejected it as not sufficient because of the lack of brand name on the headstock, i ran it off to my friend greg's before it could get sent back, where i let it sit until everybody forgot about it. it eventually found it's way back to my studio, and has been my main guitar ever since.
- while i never said anything about it, i get the impression that my dad eventually felt a little bit stupid about asking me to pick out an expensive guitar for my sister (who did not play guitar), while i continued to play a starter ibanez roughly ten years on. i didn't care about the brand name, but that frankenguitar i snagged from songbird had a beautiful neck on it, and i sure appreciated it. nonetheless, he seemed to realize, in hindsight, that it was kind of a shitty deal for me, and went and bought me a red sg, along with an electro-acoustic. the black guitar itself is somewhere in the sg/guild range in terms of weight, in the sense that it's lighter than a paul and heavier than a strat, but i've always treated it like a sort of a fat strat due it's shape and construction. so, in the end, i got three guitars out of my sister's hissy fit and she got zero. all three of the guitars start showing up in recordings over the end of 98 and start of 99.
let's go way back.
1996-1997 basement room
when i was a kid, my dad built a soundproof room in one of the basements of one of the houses he owned. i suppose he intended to use it himself, but he was a 40 year old man with a day job and it just didn't work out that way; i was a 15 year-old kid on summer holidays, so you couldn't pull me out of there. so, my earliest demos were recorded in this little insulated room i was lucky to have. what gear did i have that i could look for?
- i was using an ibanez guitar with a floating bridge. i actually don't regret selling this guitar, as i found the bridge to be annoying and i don't have the attachment to ibanez that a lot of metalheads might.
- i still have my ancient cheri amp
- i still have my zoom 1010 effects pedal, and wouldn't imagine anybody would want to model this. google suggests "no" on first pass. it was a beginner floor guitar effects pedal that...it didn't sound very good, or at least not as a guitar processor. i didn't know any better. it was useful as a noise generating device, even if it wasn't so useful as a guitar pedal. so, there's some great sounding distorted cymbals recorded through it. i would be interested in finding an emulator for the reason that it's so overwhelmingly noisy that it's almost useless in scenarios where it would be great if it wasn't. in later years, i've put the jx-8p through it and that's all i'd ever use it for nowadays. but, all my guitar parts used this thing, for years.
- my dad's friend larry left a broken mxr phase 90 (script logo.) down there that i still have. it still works, if you pay close attention to the pot on the inside, and i used it quite a bit. he just never retrieved it. hey larry, do you want your mxr back? he was a van halen fan; i was a corgan fan, and even at that age i understood the influence and the value of it. this is a classic pedal - it's both in the pod and in guitar rig - but i wonder if there's a standalone....
there's one attempt here:
...but nothing official, i don't think. if i was mxr, i would have this, for sure.
- there was a bass down there to start (i don't remember the model), and then there wasn't, so i bought a boss oc-2 to try to create bass parts out of my guitar, and it didn't work out that well. i ended up using it mostly for keyboard parts, but i sold it without getting too much out of it.
this is an emulation:
- my sister, who was a serious pianist at a young age, had an electric piano with some organ sounds and stuff. she was strangely propertarian about the item, and repeatedly refused to allow me to record in her space. so, i had to sneak into her room when she wasn't around. i eventually got the jx-8p...and she eventually got a grand piano parked in the living room, that was great to record on when nobody was home. i don't remember the model.
- her metronome is also heard a few times
- there was a peavey bass amp down there that i held on to for years and think my sister ended up with, in the end. i can get all manners of peavey emulation from the pod or from guitar rig, even if i actually prefer the sound of roland or vox amps.
- there was a drum kit down there; don't ask me about the details. again: i never saw him actually play it. in hindsight, maybe that was intentional.
- larry also left his tascam down there, and he did pick that up, along with an acoustic guitar that belonged to him.
- there was a graphic equalizer hooked up to a luxman receiver
- i never mic anything any more, but the mics i was using were dixon md-1178s, and i actually still have both of them. i have some mic emulation software, but this is something i pay very little attention to because i line almost everything in through the pod or the alesis (including the electronic drum kit), and almost all of my music is instrumental. i later picked up a very old altec 683 b, and it's the mic i use when i need one (and the mic sean used to record everything, as well).
- ....and my sennheiser 440-IIs, which i still have, were what i listened to everything through.
i think we'll be installing this, as well:
if that plugin works well in cubase, it could get a lot of use, especially on the lost symphony, as it would have been fundamental, if i had actually recorded it at the time.
if you're curious, this is how i tend to work - i go looking for what i need when it comes up, i don't tend to just download things and experiment with them when they're brand new.
but, i wonder if i should actually even go out and find all of the old gear that i've lost in plugin form. how possible is that? what is really missing, actually?
this soundcard is actually an older model than i thought it was.
it's at least designed for nt, so maybe the software might work, if i get the right peripheral for it.
but, it also has a firewire, so i wonder if i could drive it from the alesis....
right now, i just want to get drivers and script them.
the key shift in approach should be this:
it may be true that 24 bit is technically superior to 16 bit, but, in the end, it's, just, like, your opinion, as to which sounds better.
don't believe me? go ask that kid with a record player.
so, i want to mix towards an output, not just get superior quality for the fuck of it.
but, i need to understand what people are actually listening to, and the answer appears to be the following: spotify is currently upgrading from streaming lossy mp3 to cd-quality audio. and, youtube seems to be pushing downsampling. so, for right now, 16-bit seems like the way to go, still.
my previous build of the 32-bit xp machine had the soundblaster live drivers built into the os install. since putting the live back in the 98 machine (which i'm calling 16-bit but is actually also 32-bit) where it came from, i've put the audiigy that my sister's first husband gave me (he decided to be a douche bag mac user around '05ish, so he didn't want it) in the 32-bit machine to replace it. it also has what was the last line of m-audio delta series pci cards in it, which i got for very cheap at the end of it's lifecycle explicitly because it has an actual rca out on it, and the dac is dealt with right away kind of thing - it's about minimal amounts of conversion, although i later found out that the windows kmixer sort of ruins it and i have to connect via asio to make sense of that. and, i'm connecting an alesis 16-track mixer as a recording interface via firewire, as well as a pod xt via usb for direct guitar ins. old gear - like i said. and, none of this is going anywhere any time soon....
anyways, i didn't need to script up a driver install for the live because the drivers came with the os and the software didn't work on xp anyways, but i'm going to need to script something up for the audigy. i'm currently searching for an install cd, and will probably hold off on anything complicated until i can get one of those interfaces like i have in the other machine. the major reason i'm going to use this device is to make use of the dsp in it, which is intended for gaming and is consequently a little thicker than you'd get out of most normal audio-focused applications. a large percentage of the weird guitar and drum reverb i used from about 1999-2004 was actually using that eax as a pre-amp; i lost it when i upgraded to xp in 2004 and put it aside when i couldn't get it to work when i built the 32-bit machine in 2007.
wait. i'm recording at 16 bits? what? well...
see, this is my actual logic, here - the machine i did everything on until my system collapse was built to use 32-bit software, and almost all of the plugin software (like guitar rig) is written for 16-bit audio manipulation. so, what happens when you send 24 bit audio into software written for 16-bit audio? if it's well written software, it should actually stop you from actually doing it and tell you to downsample the audio or buy a new plugin. but, what most plugins are going to actually do is simply truncate the file and then spit it out with a bunch of zeros, meaning you end up downsampling your 24 bit recording to 16 bit by accident as you process it. and, you probably will not be able to tell the difference, as you're doing it.
on top of that, you downsample in the end anyways, right? see, that's the assumption. is it true? for now, let's assume it is. now, some people will tell you that you want the extra space for the calculations, if your software allows for it. ok. but, that's the rare scenario where you probably can tell the difference between 16 and 24 bit - when you've run the project through a thick reverb and filled all that space up with data. and, then what happens when you mix it down?
the answer is that you just delete it - and you've wasted your time getting something to sound great as a 24-bit sound file, only to have it sound entirely different as a 16-bit product. and, are you going to even notice, are you going to listen to a 16-bit file through your shmancy sound system? nooooo.
oops.
so, i developed a policy of sticking to recording to the output quality. that is, i decided that if people are going to listen to the end result on 16-bit playback devices (or, god forbid, fucking speakerphones) then i'm going to mix them at 16-bits. logical, right?
but, how true is that, still? i mean, nowadays nobody listens to anything on cds - what they actually do is stream it, probably. and, are they therefore able to stream it at 24-bits? i mean, their hardware can probably do it.
the 32-bit machine that i'm reinstalling this morning will remain 32 bits and geared towards 16 bit recording. that's not going to change.
but, as i get around to building that 64-bit machine and wondering how i'll be recording into it, the question i'm actually going to ask isn't about maximizing recording quality so much as it's about trying to understand actual listening habits. i know that i still listen to everything in 16-bit. am i out of touch on this? if i am, and people are listening to 24-bit flacs on their phones, then i should adjust to mixing final outputs in a way that conforms to how they're actually going to listen to them.
if i mix everything in 24-bit and the world listens to it in downsampled 16-bit, i'm just deluding myself through the process - all of that effort exists strictly in a parallel reality that nobody actually inhabits. however, if i mix everything in 16-bit and the world upsamples it to 24-bit to listen to it, i'm missing out on an opportunity to expand the quality of the mix.
all the technicalities and specs are fun to analyze, but it's the user experience that i'm really concerned about.
ok, so that was a wasteful few days due to needing to undo the cops breaking my computer (yet again.), but i have my machine coming back up now. i was in fact able to isolate a crc error on the dvd; the reburn is booting from the dvd, as intended.
but, listen, you fucking idiot thugs...
the chromebook is the only machine i use to post to the internet and, so long as this continues, that is not going to change. the 90s laptop is being used strictly as a phone, right now, but will eventually also be used as a tv. and, the recording machine is kept off the network and used strictly to record and compose music on.
the computer you want to hack for kremlin codes is the chromebook. please leave my recording pc alone.
is that simple enough for you to understand?
so, i was having difficulty booting the install media from the dvd drive and i had to figure that out because that's how this sits - i just leave the install media in the bottom drive and let it sit there, so i know what the most recent version is, and i have it available in case i need it.
but, as i was doing some troubleshooting, i started to suspect that it's the media itself that's corrupt. thankfully, i do in fact have a backup. of course. so, i'm going to try to reburn that and try again.
to be clear: i could install it from the blu-ray drive, but i don't want to do that, i want to install it from the dvd drive. and, the dvd drive seems to let other media boot, so it kind of has to be the actual disk itself. i think....
Wednesday, May 26, 2021
so, i was sleepy when i got in, which isn't that bizarre, as i had been sleeping afternoons for the last few days. i wanted to shower, eat and take a nap, but i had to shower and then nap, instead. so, then i got up to eat and napped some more. i took some iron and napped some more...
i guess i got about ten hours of sleep overall, but i suspect that's two days worth. i actually like naps rather than long sleeps in the summer, and i'd rather sleep in the day if the air conditioning is on (as opposed to having to suffer through it). i absolutely despise air conditioning and want it off altogether, but it is currently on, despite the fact that i asked him to turn it off when he left. so, when you have the air on, it's actually warmer at night - and it's more enjoyable to sleep during the day, to avoid the a/c. but, now i'm awake, so i'm going to need to run the stove to warm the place up, instead. i'll have to try to cycle that over in the next few days, to get back to sleeping during the air conditioning and being awake when it's off.
as it is, i've been up since around 6:00 and have been trying to shift over to do some cleaning but have been stuck dealing with the recording pc, instead.
i guess the cops upstairs realized i was using the recording pc this week, and decided they therefore had to break it. i have no idea what they're looking for, but they seem to think i'm hiding some kind of data somewhere. whatever they did, they seem to have shorted the ram, and they seem to have broken the boot loader - which is something similar to what they kept doing to my windows 7 machine. the difference is that i've very purposefully kept the recording machine off the network for more or less this exact reason, and i guess it doesn't seem to matter - they'll just break into your house and break it when you\re gone.
so, i cleared the cmos and...i was in the process of reinstalling to the drive anyways, so i'm currently putting a temp install in.
this machine does not have a wireless card in it, and i don't want to connect it to any outside network ever at all. in the lalala world that the cops live in, that means i must be hiding secret codes from the kremlin on it, so they need to hack it and take it down.
i don't know how i got into this surreal, absurd mess, but they don't seem to be operating on evidence, and it seems that my only choice is to try to ignore them.
so, that's my night (eating and sleeping) and my morning (reinstalling). i need to call the doctor soon, eat again and then get to getting on with it.
Tuesday, May 25, 2021
overall, this weekend really got away from me. whoever it actually is that is upstairs is acting like a child in their habits, whether they actually are one or not, so i've been forced to clean up after them every few hours - but it doesn't stay clean. so, i have to do it again...
they've very badly triggered my asthma, which is giving me heart palpitations and forcing me to sleep more than i normally would, as well. and, again, i feel like i'm being drugged, but i can't figure out the source of it to end it.
and, yes i know they're up there - i can hear them, i can smell them. it's obvious.
so, i've just been getting up, cleaning, eating, cleaning, sitting down to do something, having to get up to clean again, getting the smallest amount done, having to clean again, etc.
ultimately, no - it shouldn't take me 6-7 hours to prepare a meal and eat it, but that's life dealing with the effects of second-hand smoke by selfish, worthless neighbours - or their worthless children, as it may be.
i was going to go over the sealing i did with an exacto knife (it's a horrible mess, i'm not very good at stuff like that) tonight, but i realized pretty quickly that that's just going to undo it. and, ultimately, who cares? so, i did a second coat over a few spots, and i'm just going to scrub the floor for now, instead. i also want to put something over the space and see if it's comparably better and, looking into it, the best thing to use is probably a dollar store tarp. so, i'll need to go grab one of those as well, the next time i'm out.
but, i think the worst part of it was the bacteria and/or fungi coming in from the cracks, and i hope that sealing them resolves the primary problem.
i'm otherwise in need of doing that clean on the other side of the apartment that i keep putting off...
Monday, May 24, 2021
let me clear about this, though - don't connect your xp machine to the internet. ever.
at this point, i only have one controller with internet access that i take files off and with an external drive, and keep everything else off the intranet.
that's the one issue, but you don't want your recording machine online, anyways.
yes, i'm using cubase.
sx. 3.
on xp.
hey, it works; the only issue i've ever had with it is overloading due to the 4 gb ram limit in the 32 bit os. the new sample libraries simply need more ram. but, it's going to be matlab that is going to pull me in to the 64 bit os recording world, finally. it was actually matlab that forced me to upgrade from 98 to xp around 2005 - and while i've upgraded my hardware, i've stuck with 32-bit xp ever since.
i'm ultimately the type that likes a stable, steady daw over the newest bells and whistles. from the time i got my jx/ry30 combo in the late 90s (which would have been cutting edge ten years earlier, but was just high quality last gen by the time i snagged it), i've always been about making the most of the previous generation of gear - and you'll note that i tend to actually use the features in my gear, rather than just upgrade it every six weeks to look cool.
if you're getting good equipment, it should last twenty years before you exhaust it, by which time you have another generation of supposedly last-gen gear to actually understand and make actual use of.
i'd rather listen to a talented programmer on a 20 year old tower that really knows how to use the gear because they've spent the time with it than some talentlesss rich kid fucking around with the shiniest, newest toys.
so, i'll stick with sx 3 for now, thanks.
but it's almost time to upgrade to a system that would have been cutting edge around 2015 or so.
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