Choosing an audio interface can be a daunting task.Â There are literally hundreds of options on the market and choosing one can be confusing and even frustrating.Â As you can imagine we get to touch, experiment with and test many of the popular interfaces out there and would like to share with you some of the features, qualities, and benchmarks (Part 2) that will hopefully help make this decision a bit easier.Â To me there are several major factors that come into play when selecting an audio interface. Continue reading
One of the toughest decisions to make when purchasing a computer for digital audio production is which processor will be best for your configuration. These days, the model numbers that designate the processors have very little to do with how fast the CPU actually is. Furthermore, the commonly used denominator for speed GHz means less than it ever has due to variables such as total number of cores, hyper-threading and turbo-boost support, hyper transports, and on and on…
As such, benchmarking digital audio workstation computers for audio production is not an easy task. There are many synthetic benchmarks available that help compare processors but these are generally geared towards gaming, 3-D animation and general productivity. What sets audio production apart from other computing tasks is that everything has to happen in virtual real time – low latencies mean that the CPU has less time to make a calculation, sometimes resulting in glitches and artifacts during recording and playback. Most synthetic benchmarks do not address audio glitches, instead they focus on the raw number of calculations a processor can accomplish in a given time. This is why we use a different, more hands-on approach to benchmark our systems.
If you’re like me you’ll often find yourself looking for a file that you know exists somewhere on your hard drives but can’t find it. Â It’s hidden somewhere in a neglected folder and you will go insane trying to find this file. Â Well, I recently found the ultimate solution for this problem. Â It is called Search Everything, a little application created by VoidTools that makes finding files easier and quicker than ever before. Search Everything has a lot going for it. Â What follows is a brief summary of its features and how I’ve used it in my audio projects. Continue reading
What a wonderful year we’ve had here at Reyniers Audio – on all fronts.
First of all, on a more personal note, Olga and I got married on November 13 and we were blessed with the most beautiful wedding any couple could ask for. For our honeymoon we are traveling to our home countries of Belgium (my home) and Poland (her home) to visit family and friends. We are leaving on December 22nd and will be back on January 7th. Â This means I might be a bit slower in getting back to clients, but rest assured, the rest of our team will be at the office ready to answer calls and respond to technical emergencies.
Some of our studio projects:
Business has been steady despite the economy and our Crooked Tree Studio has been bustling with many great artists, recording everything from demo tracks to complete albums. Continue reading
For the longest time, I have recommended going with Windows XP Home 32-bit for music production on the PC. It has long been the most reliable choice, as every major DAW host, audio interface and audio plugin available supported the platform. This was the case for a very long time.
Windows Vista was supposed to revolutionize audio performance with its new WaveRT
driver model, promising to enable lower hardware latency in audio applications. Many audio interface manufacturers, including MOTU, Presonus and RME, started adopting the driver model with some success. The problem: most of the big DAW hosts do not support WaveRT and their programmers chose to stick with ASIO drivers for its proven reliability and its ability to provide low latency audio performance. It also turned out that porting DAW hosts and VST plugins to work seamlessly in Windows Vista was rather difficult. Pro Tools, for example, always seemed to run better on Windows XP Home then on Windows Vista: it ran smoother, was more stable and the achievable plugin counts were much higher. Windows XP 32-bit was the ultimate solution. A fully audio optimized installation of Windows XP Home 32-bit on a recording computer easily outperformed both 32- and 64-bit versions of Windows Vista. Continue reading
My name is Wouter Reyniers and I will be posting about things related to recording music on a digital audio workstation recording computer.Â Many of my posts will be as a result of questions clients have asked us, others will be about things that I feel are interesting. Hopefully you will find them interesting as well. I will share with you my discoveries in the digital audio world as well as experiences I meet along the way. Some of the things you can look forward to reading about on this blog are:
- Windows 32-bit versus 64-bit for Recording on a DAW Computer
- Audio interfaces â€“ FireWire, USB, Internal â€“ which is best?
- Solid State Drives â€“ The end of platters?
- How to keep your audio project files organized and neat.
- How to get that monster bass drum sound, with or without triggers.
- You can never backup often enough, some tools to make it easier.
- Anti-virus software â€“ the silent recording computer killer?
- Streamline your projects, a lesson in efficiency.
- In the studio â€“ tips to get that (close to) perfect take.
- Reaper â€“ the little DAW that could.
So come back often and feel free to chime in the comments, we love to learn hear from your experiences as well.