This month we only have 6 entries, and the closing date is the 27th. The guy organising this nearly threw in the towel a few months ago due to low numbers, and he gives up now it's very unlikely it will ever restart. So if you have anything at all up to 3 minutes long that can be remotely described as relating to a colour (or two) please submit it ASAP. This fun contest has run since (at least) the early 2000s and it'd be a crying shame if it ends.

-- Will J Godfrey {apparently now an 'elderly'} https://willgodfrey.bandcamp.com/ http://yoshimi.github.io Say you have a poem and I have a tune. Exchange them and we can both have a poem, a tune, and a song. _______________________________________________ Linux-audio-user mailing list -- linux-audio-user(a)lists.linuxaudio.org To unsubscribe send an email to linux-audio-user-leave(a)lists.linuxaudio.org

This fun contest has run since (at least) the early 2000s and it'd be a crying shame if it ends.

Your entry(s) must be created with audio plugins or software studio.

Linux audio is on safe ground I believe even still because it is about

I wonder if that changes as the proprietary audio world goes to a monthly subscription model

and analog hardware becomes cheaper

On Tue, Jul 25, 2023 at 03:29:53AM -1000, robertlazarski wrote: XXX 'as a service' or 'in the cloud' is what is happening to the software world in general. I don't think it will last. High quality analog hardware (that still works as specified five years after you bought it and can be maintained) is not becoming cheaper. I spent about a quarter of my professional life recording and mixing using analog tape recorders (Ampex, Studer, Telefunken, ...) and mixers (Neve, Solid State Logic, Harrison,...). These are "collector's items" now. There is nothing software based that comes close to using those, in particular for anything 'live'. Much of that has to do with ergonomy. On these analog consoles I could reach for any control I wanted without having to look consciously or think - everything was in the right place. Even without automation they were much easier to use than any DAW I know of. Compare that to having to negociate multiple levels of menus or having a single EQ or compressor occupying half of your display. Ciao,

All you need is a full desk size flat screen (at least 8k) with high resolution multi-touch capability and continuous tactile feedback.

On Tue, Jul 25, 2023 at 10:18:59PM +0100, Will Godfrey wrote: I doubt that very much. What made those mixers ergonomic was careful design of the layout of the controls, including their sizes, colours, and 'feel'. Also don't forget that there were actually two mixers in one console, one taking the mic or instrument inputs and mixing them to 16, 24 or 32 tracks for recording, and the second taking the tape inputs or outputs and mixing them to stereo for control room monitoring and to a small number of foldback mixes for the musicians. Switching between track input or output for monitoring was done by the tape machine. It had to be, because when monitoring some tracks while recording new ones, or for punch in-out, you had to use the recording tape head for playback. With only a limited number of tracks available it was quite common to 'pre-mix' mics to a smaller number of tracks when recording e.g. a big band or a large orchestra for film music. Which also meant you had to get this right during recording. Working for radio/TV as I was then this was not a big deal - you were supposed to be able to mix 'live' anyway. On early multitrack consoles there used to be two physically separate sections with the monitoring section usually being quite simple, often without EQ or other effects. For the actual mixdown the recording section was reconfigured to use the tape outputs. Later most designs used the 'inline' layout which meant that each strip actually contained one channel of both mixers. You'd have two faders (the second one being smaller or just a rotary control) and two panpots. These and all the rest (EQ, inserts, AUX sends,...) could be swapped between the two routes. So the actual signal routing was actually a bit more complex than in most DAWs today. For example in Ardour all that remains of the 'recording' mixer is just a one-to-one connection from inputs to tracks without any controls. If you want to pre-mix that requires significant additional work to set this up. Many studios are carefully maintaining these 'legacy' mixers. For example Abbey Road (London) is still keeping some of their 60's and 70's equipment in working order. This means replacing all the worn-out potentiometers and multi-pole switches (you can still find those, but they are quite expensive). They have a full-time technician just for this. Ciao, -- FA