For a decent comparison of C++, Java and Python. This particular source if refrenced from http://www.python.org/doc/Comparisons.html
Executive summary: C++ Fast. Java medium. Python slow. Notable exception to this rule is Java's console performance, which is abysmal for some reason. Like any benchmarks, they probably wont have much impact on real world applications, so use whatever language floats your boat.
Check out Garage Games site for demos of actual games made with Torque (Think Tanks, etc) for a demonstration of the engine's ability. I think you will be impressed with its quality. Most aspects of the engine are scriptable and you can do that for free. The Torque SDK, while not open-source, is insanely cheap when you consider what you get, and the community of developers is quite large.
It is also worth mentioning that Torque runs on Win32, Linux, and MacOS X.
"First thought...just how much of this propellant can be produced by these microbes? It really seems like you'd need quite a bit to launch a missle. Can this be done from the work of some microbes?"
Replace "propellant" with "alcohol" and "launch a missle" with "supply the fans at an NFL game" and proceed to ponder your question.
Unfortunately the poster didn't. This legislation is designed to deal with people attempting to distribute/profit from works BEFORE they are generally released to the public by the owner.
I would not sweat the headphone output quality. I personally feel it is quite adequate. It is not really possible to make a "great" headphone amp and maintain the form factor and power requirements of an iPod.
I don't see how it is out of line to suggest a good pair of phones to go along with the iPod. The phones that come with it, while small and convienient, don't sound very good.
I'm sure that if the item in review had been a $100 game console, nobody would bat an eye at the suggestion that a $5000 flat screen TV would be a great way to play it with your friends.
"Since then, Roland have not done anything to keep up the momentum. They could have crushed Soundblaster so badly, that Creative simply ceased to exist. They could have improved their MIDI interface, keeping pace with the evolving standards. They could have moved to 20-bit sound even then, and be into 24-bit or 26-bit sound today."
"You'd never guess I recorded it in my bathroom..."
Sounds like it could be Bjork. Her producers set her up with a Digi001 a nice mic pre, compressor, and a nice mic and stuck it in a rack so she could take it with her. Supposedly she records vocals all over the place in hotel rooms, etc. Really it could be just about anyone, and many many artists are choosing to take these small systems with them on the road.
Yeah, I'm not trying to say the only way to do it is booking time in a huge studio, in fact I am personally doing the opposite. However, I noticed a lot of folks were asking questions like "man thats cool, what warez do I need" and I just wanted to make it clear that you still need a LOT more than just your laptop and some MOTU gear. I know quite a few people that went out and bought a small setup and then were bitterly disappointed because they didn't consider all the incidental expenses. I have a fairly modest home studio and I have easily spent more than $2000 on CABLES and PATCHBAYS. I'm not talking about some sort of insane audiophile elitist stuff here, just enough cable to wire my 3 rooms with 24 inputs, and wire all my gear to a patchbay. Of course you could skip the patchbay, and many people do, but then you spend 50% of your time buried knee deep in a pile of mating cables looking for that one stupid thing that is patched in the wrong place. Nobody likes that. I don't want to try to discourage people, but try to keep in mind that a computer is not a magic bullet. You still might need a lot of other stuff. And you definately still need talent, and good music.
"The days when a pro recording needed a 24-channel mixing desk, ProTools TDM hardware, a quiet room and a team of engineers are... say it after me kids... OVER!"
Unless......you want to record them all at once. Which means you need a couple of your firewire interfaces chained together....you want them to be able to monitor what they are playing without latency(this is a problem with host based systems), which means generally you have to lug around a mixer. You also have to lug around a headphone distribution system....you want to use microphones, which means you have to lug around as many mic pres as you have inputs. So that means a mixer or a pile of outboard mic pres. Maybe your interface has a couple pres on it, but damn, you arent going to use those for everything are you?...you dont want your audio to clip while you are recording it, so you still might lug around some compressors, limiters, etc so make sure your levels dont go over during tracking. Maybe your interface has built in soft-limiting, but then its probably not a cheapo $99 firewire interface...you could go on endlessly
Basically, it turns out you are lugging around a recording studio. The article was addressing mostly tasks post tracking (editing, rough mixing, etc). Computers are great, and to a large extent they can emulate or replace a huge pile of gear, and they are definately changing the nature of recording. But it is very hard to replace many of these analog devices unless you are changing the very nature of music (ie electronica ).
The control 24 is just a control surface, and requires Digidesign TDM hardware ( MIX, HD ). It does have 16 channels of mic-pres, but these are simply analog pres, and you would need the appropriate interface to make it work. The focusrite pres in the control24 arent bad, but they are not "blue" or "red" range. They are more like the consumer "platinum" pres.
It is true that many of the steps of music production can be performed on increasingly small and portable platforms ( BT, who was mentioned in the article uses Logic with Digidesign TDM hardware incidentally). Much of the editing and mixing can be accomplished in this fashon. This is especially true if the type of music you are creating is fundamentally electronic. However, when you need to record musicians you still need analog gear: Microphones, mic-preamps, compressors, a good room to record them in. Just to name a few of the things. Computer based recording has driven down the price of some parts of the recording chain while raising quality.
Until human musicians that play acoustic instruments are eliminated entirely, the need for analog gear and recording studios will remain.
Also, when you hire a producer or recording engineer you are paying mostly for their time and expertise, not their mountain of cool gear. Top mixers do their work on in wildly different enviornments ( SSL9K Pimped out room -vs- laptop ) but they charge you for the finished product.
True there is a Kansas City, KS just as there is an East St. Louis, IL. Just clarifying for out of towners who regularly speak of Kansas City being in KS, when they actually want the one in MO.
The Olathe, KS theater is still considered in the Kansas City Metro area. The KC Metro area supposedly has the highest screen-per-capita ratio in the known universe. The theater in question is a brand new 30 screen job so that might also answer why they have a digital screen. It may seem like its in a small town, but it's really just a suburb of a major metro area.
Another small tidbit of trivia, Kansas City is in MISSOURI DAMNIT, NOT KANSAS!:)
There is a big difference between ripping off someones style and sampling someones audio recordings.
Anyway you cleverly missed the entire point which was that if you happen to be producing that sort of music, it can be done for virtually nothing (assuming you dont get sued by the Rolling Stones at some point, etc )
The home recording revolution has already arrived depending on the style of music you are making.
If you are making what I would classify as "parasitic" music ie. DJ stuff, some techno, some hip-hop you can pick up some software for a few hundred bucks and maybe one decent mic and you are set. This is mostly because these styles rely on the production value of material that was already created in high quality expensive studios.
If you want a general purpose home studio you are still going to wind up paying somewhere around 20K for all the little bells and whistles you need.
While digital gear can do an excellent job replacing a vast array of analog gear, it still does not reduce the need for high quality analog pre amps, microphones, *GOOD* digital to analog converters, reference speakers, and a whole slew of other things, not to mention a few rooms to stick all the stuff in and have it sound good.
Im currently constructing a studio in my basement and I would estimate that the construction costs are around 50% higher than what they would be if I was just putting in a "rec room" or something like that.
Slashdot Mirror
I sugggest you check out
http://www.flat222.org/mac/bench/
For a decent comparison of C++, Java and Python. This particular source if refrenced from http://www.python.org/doc/Comparisons.html
Executive summary: C++ Fast. Java medium. Python slow. Notable exception to this rule is Java's console performance, which is abysmal for some reason. Like any benchmarks, they probably wont have much impact on real world applications, so use whatever language floats your boat.
Check out Garage Games site for demos of actual games made with Torque (Think Tanks, etc) for a demonstration of the engine's ability. I think you will be impressed with its quality. Most aspects of the engine are scriptable and you can do that for free. The Torque SDK, while not open-source, is insanely cheap when you consider what you get, and the community of developers is quite large.
It is also worth mentioning that Torque runs on Win32, Linux, and MacOS X.
"First thought...just how much of this propellant can be produced by these microbes? It really seems like you'd need quite a bit to launch a missle. Can this be done from the work of some microbes?"
Replace "propellant" with "alcohol" and "launch a missle" with "supply the fans at an NFL game" and proceed to ponder your question.
Unfortunately the poster didn't. This legislation is designed to deal with people attempting to distribute/profit from works BEFORE they are generally released to the public by the owner.
I would not sweat the headphone output quality. I personally feel it is quite adequate. It is not really possible to make a "great" headphone amp and maintain the form factor and power requirements of an iPod.
I don't see how it is out of line to suggest a good pair of phones to go along with the iPod. The phones that come with it, while small and convienient, don't sound very good.
I'm sure that if the item in review had been a $100 game console, nobody would bat an eye at the suggestion that a $5000 flat screen TV would be a great way to play it with your friends.
When you open the box it says "Designed By Apple in California" or something very similar
"Since then, Roland have not done anything to keep up the momentum. They could have crushed Soundblaster so badly, that Creative simply ceased to exist. They could have improved their MIDI interface, keeping pace with the evolving standards. They could have moved to 20-bit sound even then, and be into 24-bit or 26-bit sound today."
Yes! bring on the 26 bit sound!
"You'd never guess I recorded it in my bathroom ..."
Sounds like it could be Bjork. Her producers set her up with a Digi001 a nice mic pre, compressor, and a nice mic and stuck it in a rack so she could take it with her. Supposedly she records vocals all over the place in hotel rooms, etc. Really it could be just about anyone, and many many artists are choosing to take these small systems with them on the road.
Yeah, I'm not trying to say the only way to do it is booking time in a huge studio, in fact I am personally doing the opposite. However, I noticed a lot of folks were asking questions like "man thats cool, what warez do I need" and I just wanted to make it clear that you still need a LOT more than just your laptop and some MOTU gear. I know quite a few people that went out and bought a small setup and then were bitterly disappointed because they didn't consider all the incidental expenses. I have a fairly modest home studio and I have easily spent more than $2000 on CABLES and PATCHBAYS. I'm not talking about some sort of insane audiophile elitist stuff here, just enough cable to wire my 3 rooms with 24 inputs, and wire all my gear to a patchbay. Of course you could skip the patchbay, and many people do, but then you spend 50% of your time buried knee deep in a pile of mating cables looking for that one stupid thing that is patched in the wrong place. Nobody likes that. I don't want to try to discourage people, but try to keep in mind that a computer is not a magic bullet. You still might need a lot of other stuff. And you definately still need talent, and good music.
"The days when a pro recording needed a 24-channel mixing desk, ProTools TDM hardware, a quiet room and a team of engineers are ... say it after me kids ... OVER!"
...you want to record them all at once. Which means you need a couple of your firewire interfaces chained together. ...you want them to be able to monitor what they are playing without latency(this is a problem with host based systems), which means generally you have to lug around a mixer. You also have to lug around a headphone distribution system. ...you want to use microphones, which means you have to lug around as many mic pres as you have inputs. So that means a mixer or a pile of outboard mic pres. Maybe your interface has a couple pres on it, but damn, you arent going to use those for everything are you? ...you dont want your audio to clip while you are recording it, so you still might lug around some compressors, limiters, etc so make sure your levels dont go over during tracking. Maybe your interface has built in soft-limiting, but then its probably not a cheapo $99 firewire interface ...you could go on endlessly
Unless...
Basically, it turns out you are lugging around a recording studio. The article was addressing mostly tasks post tracking (editing, rough mixing, etc). Computers are great, and to a large extent they can emulate or replace a huge pile of gear, and they are definately changing the nature of recording. But it is very hard to replace many of these analog devices unless you are changing the very nature of music (ie electronica ).
From the site:
compatibility with both Pro Tools TDM- and LE-based systems*
* Digi 002 does not support Control|24
Guess its time to skip Digi002 and skip right to HD! No wait HD-Accel! *sigh* I just got my HD system upgraded to OSX too...
The control 24 is just a control surface, and requires Digidesign TDM hardware ( MIX, HD ). It does have 16 channels of mic-pres, but these are simply analog pres, and you would need the appropriate interface to make it work. The focusrite pres in the control24 arent bad, but they are not "blue" or "red" range. They are more like the consumer "platinum" pres.
It is true that many of the steps of music production can be performed on increasingly small and portable platforms ( BT, who was mentioned in the article uses Logic with Digidesign TDM hardware incidentally). Much of the editing and mixing can be accomplished in this fashon. This is especially true if the type of music you are creating is fundamentally electronic. However, when you need to record musicians you still need analog gear: Microphones, mic-preamps, compressors, a good room to record them in. Just to name a few of the things. Computer based recording has driven down the price of some parts of the recording chain while raising quality.
Until human musicians that play acoustic instruments are eliminated entirely, the need for analog gear and recording studios will remain.
Also, when you hire a producer or recording engineer you are paying mostly for their time and expertise, not their mountain of cool gear. Top mixers do their work on in wildly different enviornments ( SSL9K Pimped out room -vs- laptop ) but they charge you for the finished product.
PT6 for OSX is out.
I have to agree with you there :)
True there is a Kansas City, KS just as there is an East St. Louis, IL. Just clarifying for out of towners who regularly speak of Kansas City being in KS, when they actually want the one in MO.
The Olathe, KS theater is still considered in the Kansas City Metro area. The KC Metro area supposedly has the highest screen-per-capita ratio in the known universe. The theater in question is a brand new 30 screen job so that might also answer why they have a digital screen. It may seem like its in a small town, but it's really just a suburb of a major metro area.
Another small tidbit of trivia, Kansas City is in MISSOURI DAMNIT, NOT KANSAS!
There is a big difference between ripping off someones style and sampling someones audio recordings. Anyway you cleverly missed the entire point which was that if you happen to be producing that sort of music, it can be done for virtually nothing (assuming you dont get sued by the Rolling Stones at some point, etc )
The home recording revolution has already arrived depending on the style of music you are making. If you are making what I would classify as "parasitic" music ie. DJ stuff, some techno, some hip-hop you can pick up some software for a few hundred bucks and maybe one decent mic and you are set. This is mostly because these styles rely on the production value of material that was already created in high quality expensive studios. If you want a general purpose home studio you are still going to wind up paying somewhere around 20K for all the little bells and whistles you need. While digital gear can do an excellent job replacing a vast array of analog gear, it still does not reduce the need for high quality analog pre amps, microphones, *GOOD* digital to analog converters, reference speakers, and a whole slew of other things, not to mention a few rooms to stick all the stuff in and have it sound good. Im currently constructing a studio in my basement and I would estimate that the construction costs are around 50% higher than what they would be if I was just putting in a "rec room" or something like that.