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Commodore 64 vs Vic 20 who will win?


FenderGuy1

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My Vic 20 has 3.5k of ram in basic right well the 64 has 38k of usable memory in basic so who will win?

 

Well - if the "contest" is RAM - 38k beats 3.5k hands down.

But - if the contest is best color plastic case, neither wins, since both are dull as dishwater.

Then again if it's "tastes best", I have never eaten one or the other - so it could go either way.

And if it's which makes the best DAW for recording Gibson guitars, it has to be "neither" - they both vacuum as computers.....

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My fundamental-system is the only one of its kind, due in part to the inclusion of highly-multi-dynamic vibration-awarenesses, with a hint of so-called 'frequency-intricacies'.

My goal, in essence, is to write musical notions. Combining recordings, phenomena and continuities (as well as multi-triadically layering counterpoints), my overall aesthetic is that of the 'multi-isorhythmically-orchestral' school of harmonic performances.

Rather than soloistically deciphering technological transformations, I now prefer premiering traditional types of narrative, in conjunction with highly passive experiences.

I am very much influenced by the idea of opposing distorted oppositions, particularly whilst combined with a highly developmental approach to awarenesses.

My latest composition explores the boundaries between clusters and notations, whilst utilising a highly serialist attitude to a traditional, subtractive cadence.

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My fundamental-system is the only one of its kind, due in part to the inclusion of highly-multi-dynamic vibration-awarenesses, with a hint of so-called 'frequency-intricacies'.

My goal, in essence, is to write musical notions. Combining recordings, phenomena and continuities (as well as multi-triadically layering counterpoints), my overall aesthetic is that of the 'multi-isorhythmically-orchestral' school of harmonic performances.

Rather than soloistically deciphering technological transformations, I now prefer premiering traditional types of narrative, in conjunction with highly passive experiences.

I am very much influenced by the idea of opposing distorted oppositions, particularly whilst combined with a highly developmental approach to awarenesses.

My latest composition explores the boundaries between clusters and notations, whilst utilising a highly serialist attitude to a traditional, subtractive cadence.

 

An awesome exposition AXE, the artist formerly known as AXE® but.....

It may (perhaps) just be the teensy-weenciest bit off topic. No? You don't think?

Don't get me wrong - I am in equal parts fascinated and scared by your post.

It is a truly excellent, nay, bodacious diatribe, and yet somehow I feel it

is dangerous - both in it's boldness, and it's "offtopicness" (assuming that's a word).

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