Talking about what's new in music tech

Rick Beato argues that rock records from the late 1990s and early 2000s recorded on vintage ProTools Mix TDM systems possess a superior bottom-end and mid-range clarity compared to modern HD systems. He explains that opening old session files in newer high-end systems rewrites the data and alters the sound profile, leading him to source old Macintosh G4 computers and TDM hardware. By comparing original backups from CD-ROMs with modern imports, he observed a distinct sonic degradation in modern conversions. This realization prompted him to spend months acquiring rare PCI core and farm cards to recreate authentic historical production environments.

Rick Beato shares insights from visiting a music robotics program at Georgia Tech, where researchers develop robots that can play and improvise on instruments like guitars, violins, and percussion. He notes an innovative drum designed specifically to assist a musician who had lost an arm, showcasing practical assistive technology in music. Beato clarifies that while he embraces technological advancements that empower human musicians, he remains a dedicated advocate for human creativity over pure automation. Witnessing these mechanical instruments live highlights the intersection of engineering and musical performance in academic settings.

Beato discusses the limitations of using software stem separation tools for analyzing song production, noting that computerized isolation frequently introduces noticeable audio artifacts. When instruments like the bass are separated algorithmically, overlapping frequency ranges result in poor isolation quality that obscures detailed musicological study. He emphasizes that meaningful analysis of music production requires pristine, multi-track stems directly from original master sessions rather than algorithmic extractions. Without clean source tracks, examining individual performance nuances and mixing techniques becomes inaccurate.