10MM98 Distributed Audio Processing

A problem shared is a problem halved, but is distributed audio processing an essential requirement of today’s studio setup? Mark Cousins finds out...

Although the power of even the most basic desktop PCs continues to grow at an ever-increasing rate, it is always desirable to offload peripheral tasks to a secondary CPU. Intensive number-crunching tasks such as audio processing place significant demands on a computer, and many users find it beneficial to farm out parts of the process to alternative processing units – whether it’s in the form of a DSP card, FireWire-based processing accelerator or simply combining the resources of two or more computers via Ethernet. And with the development of DSP-accelerated hardware such as SSL’s Duende and Focusrite’s Liquid Mix, it appears that distributed audio processing is here to stay.

This feature first appeared in Music Tech Magazine issue 47
Filed under General Features, Ten Minute Masters

/mtm/features/10mm98-distributed-audio-processing

New users, please register here

Please enter your details below to set up your new account. Fields marked with a red asterisk * are required.

Your name
*First name:
*Last name:
Job title:
Company:

Account settings
*Email address:
	Please make sure your email address is correct, as we will send you an email with a link to activate your account.
*Username:
	Choose a username between 7 and 100 characters in length, without spaces or unusual characters. You may use your email address as your username, but note that it may appear in community areas of the site where others can see it.
*Password:
*Confirm password:
	Choose a password between 7 and 100 characters in length, without spaces.
	Remember me on this computer

Your address and contact info
Address 1:

Town or city:
County or state:
Postcode or ZIP:
Country:
Telephone:
Fax:
Website:

	By registering to use the Music Tech website you agree to allow us to contact you with our Music Tech email newsletters featuring news, competitions, exclusive content and special offers. If you provide phone and post details we may contact you by those means as well with special offers. WE WILL NOT PASS YOUR DETAILS TO ANY THIRD PARTY. If at any time you wish to stop receiving our email newsletter, simply follow the Unsubscribe instruction on our newsletter. Contact us by email of post if you wish your post or phone details to be removed from our database.

MTM 63	10MM129 Ribbon Microphones String theory may be new, but ribbon microphones have a lasting appeal. Grant Bridgeman unties the issues...	MTM 63	Recording Real Drums Recording and mixing the sound of a complete acoustic kit can be one of the toughest challenges an engineer faces. Mark Cousins explores the most effective solutions.
MTM 62	Making Acid Dub Tracks Acid dub may not enjoy the exposure afforded by commercial radio, but it’s a growing underground genre that’s ideally suited to small-studio production. Hollin Jones explains.	MTM 62	Cubase 4 Workshop - Built-in Instruments You may have overlooked them, but the latest version of Cubase ships with some seriously useful sound-generating machines. Hollin Jones dives in...
MTM 62	10MM128 Loudness demystified Commercial recordings have undoubtedly got ‘hotter’ in recent years, but why does one recording sound louder than another? Mark Cousins seeks an explanation...	MTM 62	Sound Design For Film Designing sound for film can take you down some sonic paths you might have thought were best left unexplored. Simon Gershon takes you on a tour of his larder.
MTM 62	10MM127 DI Boxes A DI box can be your saviour during a problematic gig or recording session. Grant Bridgeman sizes them up...	MTM 62	Synthesis Essentials Fully understanding the signal path and features of your synthesizer will unlock a plethora of new, unexplored sounds. Mark Cousins throws away the presets...

Sign in to download this article

New users, please register here

See also...

Menu