On Wed, Nov 12, 2008 at 9:39 AM, Josh Lawrence <hardbop200(a)gmail.com> wrote: Yeah, I feel your pain. I was actually thinking of this recently. When I started studying electroacoustic music I was lucky enough to do it on analog gear. Now, picture this: you walk into the studio, there are 2 reel-to-reel tape machines (Ampex! exactly this one: http://www6.ufrgs.br/musicaeletronica/richter/original/Grvador-Ampex.jpgk) and pretty much all the gear you can see behind this gentleman (in fact, I studied in the same studio, except some 20 years after that photo!) http://www6.ufrgs.br/musicaeletronica/richter/original/Moog-a-cores.jpg So, you're there, with all this gear and a handful of patchchords. Scripting is out of the question. You patch stuff and work your head off, record everything because when you leave you have to unplug everything as a courtesy for another student. You take notes like crazy so that when you come back for the next working session you can repatch everything the way you had it for the same kinds of sounds. Except that analog oscilators are capricious little beasts and they don't sound exactly the same on two different days... however, somehow, nobody felt frustration ;) Not much of it changed (speaking from a point of view of someone who does not necessarily like canned music made with canned software/gear)... You still have to patch stuff around (except that now you can use bash-fu to help you save time). (Thanks to Frederico Richter for the photos, those were the only ones that my google-fu allowed me to find without taking the whole night) Cheers and happy patching :) ./MiS