In essence, a closed system will normally prove virtually bullet proof, but not easily upgradeable, while a Mac/PC-oriented system will suffer from the well-documented crashes and oddities of the host platforms, but will be capable of upgrades and enhancements that might be reasonably attractive.

Also, we should not forgot that in today’s competitive word of recording and production, the ability to perform operations faster means either that you can audition more creative choices in a typical day, or run more projects through the room in a given period. In addition, you will be able to handle more input sources, replay tracks and DSP functions with each new generation of processor development. Remember, not too long ago 44.1 kHz was the industry-standard sampling rate; these days 96 kHz is becoming de rigueur, and some pundits are arguing for 192 kHz and maybe beyond. Also, data throughputs at 20/24-bit resolution mean we need more digital horsepower, bandwidths and enhanced disk capacities.

Hooking Up to Other Stuff

Furthermore, we need to pay close attention to related hardware developments. As manufacturers develop new and better-performing peripherals, such as timecode synchronizers and MIDI-based sequencers, we need to accommodate a virtual arsenal of outboard hardware. Depending upon the visual acuity of the developer of a proprietary application-specific workstation, we might be able to call up from the unit’s screen display a menu that allows us to select an interface protocol which can communicate with the new additions to our studio. But if the new device utilizes a proprietary control dialect, then we need some method of explaining the new language and command sequences to the workstation. This translation is easier said than done with a closed system, or course, but a snap for developers of a Windows/MacOS-based systems: all they need to is develop a small section of new code that vectors the appropriate commands to a serial, USB or parallel port(s), and we are back in business.

Looking at the logic of this approach, it’s easy to see why most Mac/Windows-based workstations refrain from handling sophisticated timecode synchronization chores for the host PC. All that complex phase-sensitive number crunching and numeric gymnastics is better handled by a unit that does nothing else, something which simply tells the DAW: ”Yes, we have Lock,” or maybe, ”no, this isn’t gonna work because the SMPTE timecode or MTC code streams are walking away from one another.”

After a while, of course, theses cumulative updates and enhancements become unwieldy, and the DAW supplier realizes the time has come for a complete overhaul of the DAW software program. At that time, the developer will also attempt to incorporate the myriad requests that users have been asking for since the day after the current version was released. Once again, the computer-centric solutions enjoy an advantage. And if a new, breakthrough development appears on the Technology Horizon – such as, let’s say, IEEE1394, a.k.a. FireWire or i.Link interconnects – then a closed architecture will need radical revisions to accommodate FireWire-capable drives, for example, or maybe to handle external FireWire-equipped A-to-D converters.

Choose Your Weapon

In summary, we can expect great performance from current-generation closed-architecture workstations, along with very good value-for-the-dollar in lower end systems. But you might be giving up expansion and connectivity to alternate technologies. In addition, it’s nice to have a DAW based on an operating system capable of running a number of other applications – and let’s not overlook the attraction of using our Macs and Windows-compatible systems to handle other, non-audio functions, such as accounts and general word processing. Add to that, the computer-centric solution will likely offer a more satisfying upgrade path and enhanced flexibility.

Next Time: Delving even deeper into DAW technologies: “System Topology – Native versus DSP-based processing.” Then: “Geography/Community: Who are you working with?”

©2001 Mel Lambert/Media&Marketing. All right reserved