Don’t take this the wrong way, but does anyone actually even care about that shit?
You’re talking literal milliseconds. No one is EVER going to notice.
1 BigUp
Don’t take this the wrong way. But when I quote someone’s post to correct it, I prefer not to be wrong. he cared enough to do so, obviously. you don’t get to have it both ways. Look at the cute little acronym PDC concocted by those wacky daw programmers who don’t care either. 
Well if the ppl that make the DAWs don’t care, I’m gonna go out on a limb and say it isn’t important enough to worry about. I fail to see how milliseconds matter.
it matters a lot if youre doing something like parallel processing
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If you record and produce, for example, breakcore or metal music, yes, definitely.
1 BigUp
A piano generally has 12ms latency from key to hammer hitting string, increase that and it drastically changes how it feels to play it
1 BigUp
From my own experience, playing any keys live that have a latency above like >25ms is almost impossible.
1 BigUp
its the reason you need a conductor for a philharmonic orchestra
or why people often vote for the wrong parties
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The attack parameter of your compressor is set in milliseconds. Maybe you don’t even care about the compression, there are even Enveloper plugins like Kickstart or Duck, and probably others; which are made specifically for this purpose. They are Insert plugins, primarily.
Look at the Compression Ratio used in a standard side-chain to sub bass setup. It’s desirable for it to be thru the roof. Infinity if you could get away with it. This is so the side-chained compressor has a chance to react to a faster transient. Otherwise the whole thing doesn’t work. The compressor needs to clamp down as fast as possible.
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All very excellent points that I previously didn’t know. Don’t mean shit for us bunch of miserable bastards 
dont use compression or eq lol
this is an extremist prod forum but a very serious music forum
kinda goes in hand
im not even using saturators anymore
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It does matter a lot and is interesting to learn about for some but absolutely non-critical to understand to make music in a DAW imo. Most technical shit is just a mental drain that takes away from music making.
I feel like Clone is the perfect example of someone who knows what everything is to an infuriating level but lacks the actual knowledge of what sounds good lmao
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A bit harsh, but I agree with your main point.
Translating a good musical idea has little to do with technical details. You can make a good song idea sound great with technical finesse, but you can never tech up a bad song idea to a level where it becomes a better song.
My photography teacher in high school used the same analogy for post processing of photos.
That’s the point I was trying to make. Yours is much more eloquent
there is a specific niche of drum n bass, i think clone comes from, where you do have to account for all these minor balances
where you have to consider frequency content of every sound and dynamic levels and so on
half of it is about older club system dynamics and half that plugins and hardware was not made for it - so you have to compensate for it
if you do want to make that specific sound all of it can come into play
think like bodzin, noisia, that 2007- 2015 maximal sound
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The real photek was the neptunes beats we made along the way
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its crazy to realize photek and source direct were mostly just sampling contemporary records from a couple of years earlier and then some breakbeats they barely touched
i always thought it was super duper advanced prod but its basicly just premo/new york hip hop style prod and some good engineers ear and nice post processing for vinyl
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Watch that Source Direct production video on YT
Definitely no frills or uber-nerd production techniques going on 
This is definitely not nerdy, not at all.
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need to start handing out 24 hour bans for anyone that posts this @mods
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