Marius de Vries

De Vries first cut his programming teeth on an Roland MSQ700, and then moved on to the Atari, initially running Hybrid Arts' Midi Track software, and then C‑Lab's Notator. A few years ago he finally switched to Macintosh and Digidesign, on which he still runs C‑Lab/Emagic software, namely Logic Audio: "I was quite slow switching from the Atari to the Mac, because I had experiences of working alongside people with Macs that appeared to be crashing all the time. But things are a lot better now, and I am really happy with my Macintosh, although admittedly the timing could be better on it. The timing of the Atari was probably more stable, but then, are you going to spend your whole life worrying about the fact that there is a millisecond delay on the bass drum, or are you going to listen to the music and try to make that sound good? The '80s ethic seemed very much to make sure that everything was very precise and glued to a grid, but there's room for things to be much sloppier now, and better for it."

De Vries first cut his programming teeth on an Roland MSQ700, and then moved on to the Atari, initially running Hybrid Arts' Midi Track software, and then C‑Lab's Notator. A few years ago he finally switched to Macintosh and Digidesign, on which he still runs C‑Lab/Emagic software, namely Logic Audio: "I was quite slow switching from the Atari to the Mac, because I had experiences of working alongside people with Macs that appeared to be crashing all the time. But things are a lot better now, and I am really happy with my Macintosh, although admittedly the timing could be better on it. The timing of the Atari was probably more stable, but then, are you going to spend your whole life worrying about the fact that there is a millisecond delay on the bass drum, or are you going to listen to the music and try to make that sound good? The '80s ethic seemed very much to make sure that everything was very precise and glued to a grid, but there's room for things to be much sloppier now, and better for it."