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After 10 years, here’s my (mostly complete) Fallout New Vegas music CD and record collection containing the songs from the game’s radio soundtrack from 1942 to 2009.

Hello all. With the 10-year anniversary of Fallout: New Vegas, I wanted to share with you a project I have been working on for the past couple of years. I have been trying to collect the music of the Fallout series on the original records as a way to bring the games to life.
I've been working on other similar video game record collections, however, the Fallout series has proven to be a combination of both fascinating and frustrating in tracking down the original versions of the songs used in the game which run the gamut from shellac 78s, vinyl LPs and 45s to enormous 16 inch transcription discs, radio broadcasts, re-recordings, Snader Telescriptions, 8 tracks, and stock music. New Vegas runs the gamut from 1942-2009 and every decade and music format in between.
For those of you impatient with this wall of text to see another wall of text, but with far more pictures mostly alphabetized by artist, here's the link where I try to document every single record used in Fallout: New Vegas' various main radio stations, Radio New Vegas, Black Mountain Radio, and Mojave Music Radio.
Important: Imgur may or many not prompt you to click on "Expand More Images"; the image album goes far beyond 10 pictures.
And of course we can't forget Mr. New Vegas aka Wayne Newton and perhaps his most famous single "Danke Schoen". Though some might say his voice is very different; many people confuse it with a woman's voice.

Breakdown by decade.

This is a continuation of my previous post on the 10 year anniversary of Fallout 3. https://www.reddit.com/Fallout/comments/9rkz6y/after_10_years_of_fallout_3_heres_my_mostly/
Compared the Fallout 3, finding the records for New Vegas was more difficult since many weren’t available as jukebox singles, only came on albums, were the wrong versions, or just more rare overall.
4 songs were re-recordings/obscure versions and very uncommon to find outside the game since radios do not use the more famous originals: “Heartaches by the Number”, “It’s a Sin to Tell a Lie”, “Why Don’t You Do Right”, “Hangover Heart”. (Also an easy way to check if a Spotify or YouTube playlist compilation of the New Vegas soundtrack accurately uses the in-game versions) See also: “Jingle Jangle Jingle”.
New Vegas' soundtrack also tends to move forward in time with more records being first issued on the newly invented vinyl record instead of shellac 78s. More of them largely exist only on albums and weren't issued as singles.
Of course with albums comes cover art. While Fallout 3 had one song associated with a nudist film, a couple of pieces of album art for New Vegas feature a number of provocative poses even if it has nothing to do with the song itself, be warned that it is Sin City indeed.
Of course, people know the story of why Elvis was way too expensive to put in New Vegas. As for Rat Pack songs, there's one each for Sinatra and Dean Martin from their Capitol recording days. Sammy Davis Jr. would be a Decca records guy at the time (the label is much rarer to find in New Vegas compared to Fallout 3), but he is represented in the game as Tommy Torini.


  • "Jingle Jangle Jingle" was recorded for Columbia Records in 1942, the same year as "Praise the Lord and Pass the Ammunition". However, Fallout 76 actually uses the 1962 version of the song made after Kay Kyser retired, made with former members of his orchestra for Capitol Records. Weirdly, there are a couple of videos on youtube with the New Vegas logo for "Jingle Jangle Jingle" with millions of views that are using the wrong version of the song. It's not the in-game Columbia Records version, but taken from the same 1962 Capitol Records album that Fallout 76 uses. Though it hasn't been picked up by youtube's copyright ContentID program compared to the in-game version.
  • "Stars of the Midnight Range" is another one of those darn 16 inch transcription discs. Imagine taking a record and enlarging it to the size of your car hubcap. Like Fallout 3's Bob Crosby songs, you need a turntable that can actually accommodate the increased size. Standard turntables will cause the record to overlap the tonearm itself. According to his autobiography, Johnny Bond recorded it in 1944. The same Soundies Inc. CD album reissue also provided "Headin' Down the Wrong Highway" used in Fallout 76 which is the only other "new" Soundies transcription song used after the dissolution of the archiving company after the death of the archivist.
  • "It's a Sin" is the only RCA Victor song in New Vegas, similar to "Anything Goes" from Fallout 3. Eddy Arnold recorded it in 1946. It would take until Fallout 4 to more RCA Victor song to appear in Fallout. Probably unsurprisingly, there are quite a few songs that talk about sin in New Vegas.
  • "Mad About the Boy" is another 16 inch transcription disc song. Helen Forrest recorded this Noel Coward standard in the 1949-1950 period with the rather impressively-named Carmen Dragon and his orchestra. Fallout being Fallout means that this transcription disc uses vertical grooves (up and down) instead of the more common lateral grooves (side to side). If you look very closely at the huge record sleeve, there are enormous letters that say "VERTICAL". In the days before stereo sound, the idea was that since transcription disc turntables used rubber idler wheels that horizontally rub to rotate the platter, this imparts noise in the playback since the needle also moves horizontally. Therefore the grooves should undulate up and down to avoid excess noise to get good mono playback. When stereo sound was perfected a decade or so later, grooves would move the needle up-down and left-right to get two discrete stereo channels. As such, since my cartridge is meant for lateral discs, I can't actually play this disc until I find a stereo cartridge for the tonearm, Fallout being Fallout.


  • "Orange Colored Sky" doesn't actually appear in-game, though it was prominently used in a 2010 TV trailer for New Vegas. It sort of languished in obscurity with the other Fallout trailer song "Dear Hearts and Gentle People" until they finally made it into a Fallout game with 2015's Fallout 4. It was recorded by Nat King Cole in 1950 for Capitol Records. New Vegas would actually be the first in the series to start to use Capitol Records songs.
This is also the last shellac 78 used for New Vegas before the soundtrack transitions into the newer vinyl era.
By the way there is an interesting Nat King Cole song that encapsulates the Fallout soundtrack called "Mr. Cole Won't Rock and Roll". It doesn't appear on the original 1966 release of the album Live at the Sands released after his death in 1965, but it does on the CD reissue.


  • "Ain't That a Kick in the Head" is also pretty iconic and was featured in the film Ocean's 11 in 1960. Unusually for a Dean Martin Capitol Records 45, this is rather hard to find. It apparently failed to chart despite being in the movie. Probably because it didn't do too well, the budget compilation album company Pickwick reissued the song a lot on so-called "Greatest Hits" albums. The 1957 Pickwick album You Can't Love 'Em All is probably the earliest reissue and one of the most common. Though the end credits still credit Capitol Records for the song so they likely still retain the rights.
  • "Blue Moon" is the only other Rat Pack song in New Vegas, this time by Frank Sinatra himself. It was taken from the 1961 Capitol Records album Sinatra's Swingin' Session!!! and doesn't appear to have been issued as a single though there are some obscure EP versions that cut down the album. This was his third to last studio album for Capitol Records, though it is a partial re-make of an album he had made previously for Columbia Records ten years ago when he was still a bobby-soxer heartthrob. By 1960, Sinatra would be rather preoccupied with launching his own record label, Reprise. Of course it didn't stop Capitol from releasing a number of compilation albums after his departure from the label.
  • "Happy Times" is another Bert Weedon guitar instrumental. It was originally titled "China Doll" and released in on HMV (His Master's Voice) records in 1961. People of a certain age from the UK may recall when 45s came with knock-out centres lest they suffer from the record dinker tool to force them to fit in a jukebox.


Meanwhile, director Ridley Scott was riding on a wave of fame after the release of Alien in 1979. To keep up his directing chops, he made a series of commercials for Chanel No. 5, the perfume. The first was the radically different Blue Sky commercial with a woman lounging by a pool with the tagline “Share the Fantasy”.
The second came out in 1982, known officially as “L'invitation au rêve - Le jardin”.
There are several different versions with dialog, but they all feature the same images of the mysterious woman and man and personal questions.
The curious thing about the commercial is that it uses the re-recording of “I Don’t Want to Set the World on Fire” from this very same album. The commercial garnered a feature in the December 14, 1982 issue of the New York Times, but it does not mention the discrepancy in the recordings. The recording proved so popular in France that it led to a reissue of the album in 1983 with a new cover evoking scenes from the commercial spot and sprinkling of piano present in the commercial, but not in the original 1979 album.
Later the same year in 1982, Ridley Scott would complete Blade Runner which featured similar imagery from the commercial and another Ink Spots song in the original trailer "If I Didn't Care". This was cut from the theatrical release and replaced with the soundalike "One More Kiss, Dear". The original Ink Spots tune is restored depending on which version of the movie you have.
For "It's a Sin to Tell a Lie", it's arguably one of Billy Kenny's last recordings before he died in 1978.
Again, you have to be careful with buying the Ink Spots on vinyl LPs. After the Ink Spots broke up, many impostor groups rand around recording under the Ink Spots name even if they didn't have any original members. At best for Ink Spots LPs you can have mono or fake stereo, but original recordings, the worst will have entirely new re-recordings with no original members. Most of the Ink Spots repertoire was originally recorded on mono shellac 78s and a couple of the songs used in Fallout never made the jump to vinyl. If you want to find vinyl compilation albums with the original versions you know and love from the games, try to find labels and the subsidiaries which hold the original rights like Decca, MCA, and Brunswick to reduce the chance of them being re-recordings.
Of course for "It's a Sin to Tell a Lie", it is taken from an album of re-recordings though with Bill Kenny as the original member. I've been able to confirm the following issues as having the New Vegas version of the song though it could be there are others especially on compilations with other artists. While all of the other Ink Spots songs used in Fallout are licensed from Decca/Geffen Records, the New Vegas end credits for this song mention a Dominion Entertainment which appears to be a K-Tel subsidiary which also provided the other oddball New Vegas song "Heartaches by the Number". I'm not sure how Spotify would categorize this.
  1. The Ink Spots originally recorded "It's a Sin to Tell a Lie" for Decca Records in 1941, but New Vegas does not use this version of the song.
  2. Bill Kenny did record "It's a Sin to Tell a Lie" for Mercury Records in 1962 for the album Bill Kenny Sings the Golden Hits of the Ink Spots, but this is a different version.
  3. If I Didn't Care (1979) is the first known issue of the New Vegas version of the song. It had a couple of issues in 1979 under the Columbia subsidiaries of CBS/51 West Records. Unfortunately, it's a rather vague title featuring the Ink Spots' best-selling song, muddling searches quite a bit. It features a fountain pen, an ink bottle and a rose on the cover. Depending on which format you find the album, it may or may not actually mention if it's re-recordings. The LP says it's full of "previously released material", but I have not managed to find an earlier issue of these recordings. The cover and the label mention a certain "Springboard International" and "Koala Record Company".
Here is the 8-track issue of the song in the most 70s way I can think of, with a space age Weltron and a lava lamp. Around the middle you get the dreaded fade-out and fade-in that people of a certain age may remember about the quirks of the 8-track format.
  1. Ink Spots Greatest Hits (1982) again has a rather vague title, but it was made by Era Records. I don't know why the cover art features a woman in a suggestive pose covered in stars if none of the titles reference this. I guess it was the 80s. The cover does mention that it's re-recordings by "Key Seven Music" and "Dominion Music Corporation".
  2. The World on Fire (I Don't Want to Set...) (1983) Again, the title is rather vague, but this is an unusual French issue under Carrere/Media Plus. The cover art features imagery from the Chanel No. 5 perfume commercial as mentioned above with the man and the tower looking on a man and a woman enjoying a chance meeting. The text boxes reference this with "Musique originale du spot TV" (Original music from the TV commercial) and "Nouveaux enregistrements" (New recordings). There also was a lead single 45 with the same cover art, but it only has the version of "I Don't Want to Set the World on Fire" from the commercial and "We Three (My Echo My Shadow and Me)". The cover mentions "Kilo Music Limited" and "Key Seven Music".
My copy actually appears to be signed by Harold Winley, Jim Nabbie, Sony Hatchett, and King Drake aka the Jim Nabbie's Ink Spots. There's an interesting article from the August 1, 1985 issue of South Florida Sun Sentinel about the Jim Nabbie's Ink Spots suing other Ink Spots groups for using the Ink Spots name. Whatever the case, they were not present at the original 1941 recording sessions for "I Don't Want to Set the World on Fire" and "It's a Sin to Tell a Lie", nor does it appear that Bill Kenny sang with the group at the 1978 recording session. Apparently they were based around the Florida area and I'd love to know the circumstances that led them to signing an Ink Spots record pressed in France.
One more note on this song: I haven't been able to find much about the recording of the album. There is some information about the album having being made in Nashville in some newspaper articles for the Vancouver Sun in 1982-1983 by Denny Boyd. It was brought forth by Bill Kenny's widow Audrey McBurney who apparently tried to sue the Chanel No. 5 perfume corporation for unauthorized use of the song from the album. Other newspaper articles from 1985-1992 either misidentify or correctly identify the version of the song used in the commercial.
Presumably there would be more information about the album in the court case if it still exists. I've tried to visit a couple of legal libraries over the years, but Canadian court cases and appeals are hard to get this side of the border and since it took place around 1982, it is before the 1985 digitization limit. The case was possibly dropped and settled out of court, but if there are any Canadian Fallout fans who have access to the legal archives in Vancouver, I'd greatly appreciate any help in this matter on Bill Kenny's last album.


The New Vegas version was recorded in 1980 for K-Tel Records in Nashville. The end credits of New Vegas for the song do not mention Columbia Records, the original label, like they do for "Big Iron" and "Jingle Jangle Jingle". Instead it's "Dominion Entertainment" again like for "It's a Sin to Tell a Lie". Dominion Entertainment also appears appears to be a K-Tel subsidiary I'm not sure how Spotify would categorize this.
Candlelite Records provided the earliest issue of the New Vegas version that I could find. There appears to have been an acquisition/lawsuit/bankruptcy between Candlelite and K-Tel in 1980 and 1984. However, they were multiple Candlelite compilations issued in 1983 which have the New Vegas version.
  1. The Top 100 Country Hits of All Time (1983) This is a long 5 LP set (or 3 8-track) Candlelite set. The minuscule asterisks mention this version of the song is a re-recording by the original artist provided by "Imperial Music".
  2. The 1950's Rock and Roll Music Collection - Looking Back (1983) This is part of a colorful Candlelite series, this one is yellow and features a woman precariously rocking back at a bowling alley. It's a 3 LP set with a large booklet featuring random 1950s trivia. The album mentions a random mix of original and re-recordings by the original artist, some provided by "Imperial Music".
  3. Country Music Cavalcade - Nashville Graffiti (1983) 3 LPs. This is a confusing issue for Candlelite Records. First, there is a nearly identical 1976 version of Nashville Graffiti which uses the CBS/Columbia Records version aka the original recording not used in New Vegas. Cavalcade is also a series with nearly identical covers which have different bylines like "Welcome to Candlelite Country" while emphasis should be placed on the Nashville Graffiti byline for the New Vegas version. The cover is a scribbly one-line type drawing with a man and woman singing next to a jukebox and a car near a diner. It mentions re-recordings from "Key Seven Music".
  4. Heat of the 50s (1987) This is a cassette released by Master Sound a subsidiary of the Mastertronic video game company from the UK. There's a long story about this release, but the intriguing thing is that it also has the version of "It's a Sin to Tell a Lie" from New Vegas as well which is extremely unusual. The cover features black and white clipart of a man dancing? The tape does mention re-recordings from "Kilo Music Limited".
  5. Those Fabulous 50s (1988) Another UK release from Ocean Records. The lamination is unfortunately peeling off from the cover which features a large closeup of a car. The label does mention re-recordings from "Kilo Music Limited".
  6. Hooked on Country (1990) Another UK release, this time a true-blue K-Tel record instead of one of its subsidiaries. It's a gatefold for a single LP with 50 non-stop country classics. Because it's non-stop, it's mostly one giant groove with no track separations, so cuing is a little difficult. The track credits are a bit of a mess with some tracks being re-recorded and some not. "Heartaches" is credited to a "S J Productions Inc." You can actually hear the New Vegas version of "Heartaches on this very old K-Tel TV commercial for the album.
There are likely other issues, but these are the ones I found so far with the New Vegas version. I also have a large number of "duds" from various countries which do not have the version featured in Fallout.
This is the last track used in New Vegas that was originally issued on vinyl before the soundtrack moves forward into the newer CD era.


Much of this information comes from the physical CDs themselves and their liner notes booklets. Surprisingly, the original CDs were among the hardest things to track down for New Vegas. Some people assume these songs were composed specifically for New Vegas mostly because they don't seem to exist outside of New Vegas. But these were songs composed by many talented musicians who are still working today. I will try to list instances where the song also appeared in media earlier than New Vegas.
You may recognize the other Dick Walter tracks on the Pure Big Band KPM CD set. "Hey, Hot Lips!" was used on the UK version of Whose Line is It Anyway? for the Narrate scenes back in the 1990s. The US version uses a slightly less sleazy version for its narrate scenes. "Hot Liquorice" was also used in 1998 X-Files "Triangle" episode and the Boggart scene coming from the gramophone Harry Potter and the Prisoner of Azkaban.


Here we are firmly in the CD era and some of Fallout's most modern songs. Some of these CDs would be issued on cardboard digipaks instead of plastic jewel cases.


Like all Fallout games, trying to track down the original releases and information about the songs in New Vegas was simultaneously interesting, rewarding, surprising, and very frustrating since so little information seems to exist about many of the songs outside of the game and the wide range of formats from shellac to vinyl to transcription discs to reel to reel tape to 8-tracks to cassettes to CDs. And yet after 10 years on the anniversary, it is still incomplete and I'm still looking.
Continued below...
submitted by UpgradeTech to Fallout


Preview lag - Full explanation and how to solve it

Ok, so I got a bit tired of constantly seeing the "lag preview" topics, it's once every two days and feels pointless always copy pasting the same answer for just the next day somebody else asking the same thing, clearly not looking it up. So here goes a full explanation from beginning to end, hopefully this will clarify and make those spammy topics less common.
Disclaimer: I'm not a professional on the matter and everything that's written here requires you to do your own research for proper information. At certain points, some terms may not be the most technical ones to help less knowledge people to understand it's meaning and there may be inconsistencies with my non native English.
With this said, let's start.
  • What is a video?
First of all, it's important to understand that a video file consists of a set of images all together that when displayed one after another really fast, they create the sense of motion, or as we call it a "video". In the video editing industry, such images are called frames and the motion we see happening is defined by it's frame rate, also know as fps - frames per second. So, in simple terms, just like Photoshop edits one image, Vegas Pro edits many images, whether at the same time or manually, with us editing keyframes one by one.
  • How is a video quality defined?
Videos contain many properties that will ultimately make it look better or worse in different ways. From video resolution to bitrate, compression method, framerate and color depth, all will play a role on how a video will look like.
Video bitrate
Video bitrate is measured in Mbps (Megabits per second or Mb/s) and it's important to distinguish it from MBps (MegaBytes per second or MB/s), as they are used for different purposes. Since 8 bits = 1 byte, it can always be converted but many times ends up creating confusions for their similarities in the name. Usually, internet speeds and video bitrates are in the mb/s form, while everything else works with MB/s (transferring files, for example). But why does this really matter for videos quality? Well, the bitrate is probably the biggest factor when it comes down to video quality, since it defines the amount of data stored in each frame, therefore, providing us with more/less information giving it a sense of a betteworse quality.
Video resolution
As the name says, it's the resolution that the video will be at, meaning that every frame will be at that same resolution. Higher resolution alone doesn't mean it's going to look better, in fact, it might be actually the opposite! These days we see a bunch of advertisement on 4k like that's some sort of superior quality (to be fair, in most cases it is), but without the bitrate, resolution alone won't do much. Let's assume we got these 2 videos with a bitrate of 10mbps, but one video has a resolution of 1080p while the other is at 4k. Note that the 1080p resolution is 1920x1080 (meaning it has roughly 2 million pixels) while the 4k resolution is 3840x2160 (roughly 8.3 million pixels), so we can say 4k resolution has 4 times more the pixels that the 1080p presents us, BUT both of these videos are being filled with only 10mbps, meaning that the 1080p will have each of it's frames filled with more data compared to 4k. So if we wanted to compare both of these videos side by side in their original resolution, we would see that the 4k one would be much bigger, but much less fullfilled with information giving us less quality (by presenting artefacts and other low quality visuals). As an example, the 4k video would need to be around 40mbps to provide the same quality preset as the 1080p video and since the 4k video has a larger resolution, it would be easily perceptible it's quality as superior.
Video framerate
Video framerate will provide us with the illusion of movement, whether it's going to be a smooth experience or a stuttering one. If we compare a 10fps video with a 100fps video, we will notice that the 10fps will be jumping/jiggering/stuttering duo to the lack of frames in each second - being just 10 - giving us the perception of a timelapse even! While the 100fps video will look so smooth it's hard to believe we're actually seeing 100 images each second. With this said, the same logic from video resolution also applies when it comes to framerate, as per this example: if we have 2 videos where one is 30fps and the other is 60fps and both are at 10mbps, the 30fps will be the one with better quality, although providing a less smoothly experience. Those same 10mbps will fullfill more the 30 frames in each second in comparison by doing the same to 60 frames where it would be roughly half the quality (not exactly half but to keep things simple, let's assume so). In the end, we can define our framerate depending on our needs, if we want fast, smooth experience, we should aim to a higher framerate but we will lose some quality unless we also set a higher bitrate to compensate for this; if fast, smooth experience is not required, we can save ourselves of such "trouble" and work with a lower framerate.
Video codec
This is a very complex subject, so I will try to keep it short and simple. First, we should be aware that codecs are different than formats (those are just containers), for example, if we see a .mp4 format file (just a container), that doesn't tell us which kind of codec it has, it could be a variety of them. In the same way, a specific codec can have different formats. Formats play only a "secondary" role here and codecs are the ones we should take a look into because they define how much compression a video will have - if any compression at all. An uncompressed video will provide the best quality (and a huge bitrate number) at the cost of file size, while high compression codecs will provide a much smaller file size while trying to keep a high quality (not as good as uncompressed). General rule of thumb, the more compression a video has, the more processing power it's required to compress and decompress the video and this can be a very taxing task to the hardware. In the same way, the more compression a video file has, the more quality it's going to lose when it gets re-rendered, so, the more we render a compressed video file, the worse it will look.
Video file size
Although this won't define a video's quality (quite the opposite: the video's quality defines the file size), it's good to have a sense how it works. Let's say we got this 10 second video file at 14mbps, at this point we can already do the math to know how big the file size is: 14mbps x 10 seconds / 8 (because 8bits=1byte) = ~17.5MB. Even if we grab the same video (the 14mbps one) and make it in a small resolution such as [email protected] and also [email protected], both will be at around 17MB. So, like mentioned, the biggest quality's and file size factor is the bitrate.
  • Vegas Pro
Now that we have a sense of what a video actually is and it's properties, we can focus on Vegas and it's laggy preview. Many people think because their NASA computer with a [email protected] that can run the latest game at ultimate supreme settings, that Vegas should play the preview smoothly, that's wrong. The processing power required to deal with realtime decoding (in a smooth way) is much higher than the current hardware available to us at the moment. Some may say that they're able to play the video on the media player without stuttering - and that's correct - but a video player only plays videos in a linear way and highly compressed codecs, such as h264 and h265, are able to play forward smoothly (because of the way they were designed), but when we start skipping the video back and forth or skip a bunch of frames, we may notice some lag to the media player shows the current frames smoothly, especially if the hardware isn't the most powerful and/or we're talking about h265 with high bitrates/resolution/framerate. Although the bitrate is the big factor into quality as we saw before, resolution and framerate can also take a big hit in processing power and, of course, when we ally them all, we're talking about a heavy task!
When we talk about a NLE (Non-Linear Editing) such as Vegas, that takes a much bigger toll than a simply media player because it has to uncompress the video file's data in realtime and show us what's going on with it. If we try to edit an uncompressed video in Vegas, we're going to get a smooth preview (unless the hardware is from last century) and also there are a few codecs that aren't so high in compression allowing us to edit lag free. Since the codecs that is most widely used (h264) is a heavy one, that will require a lot of processing and most likely might lag at some point in the timeline, especially when we add certain effects/transitions, it is a very heavy task for the CPU - and to the GPU and RAM to a certain extant.
  • How to solve the lag so we can edit?
There are several ways to solve this and I will mention the most common ones, these should fix it for the majority of people.
Preview Window Quality
The fastest and simplest method is decreasing the preview window quality. You got 4 options here and each has 4 more options in them. Focusing on Preview option (for simplicity purposes), you can see in the previous screenshot that it has selected "half" in it, that means it's previewing the timeline at half of the resolution of your project settings. You can see on bottom of the preview window that my project is set at 1920x1080, but the preview is at 960x540. This helps a lot saving processing power from the preview (as we already know that higher resolutions need more processing power) and if that's not enough, we can select Preview - Quarter which, as you can see here, will make our resolution 4 times smaller than the original (being 480x270 in this case). It works like this for other options except the Draft one, that one uses half of other resolutions, making it able to go one step smaller. The main difference between the 4 main options is the quality provided in realtime: Draft being the worst, Best being the best, of course.
This option is going to take the biggest impact on the performance of the preview since it will allow us, in most cases, to get completely rid of the lag. Codecs come into play once again but to keep it "easily accessible", we can simply think light to edit codec (low rate compression one) or a heavy to edit codec (high rate compression one). If we're trying to edit h264, most likely we will have lag and we could simply convert that video file into another codec making it easy for editing, but that would add more manual work for us. That's when proxies come into play: when creating a proxy, what Vegas does is transcoding that codec into an easy to edit codec which will allow us to work lag free and when the time comes to render the video, the original one is the one that will get used so we will have the best quality possible. To create a proxy, it's as simple as right click on the video in your Project Media tab and select "Create Video Proxy". Note: when using proxies, if you set your preview window to Good or Best (in any of their options), it will switch the proxy file with the original; setting the preview window to Draft or Preview (in any of their options), will switch back to the proxy file. You're free to switch between them for previewing needs.
Dynamic RAM Preview
Vegas has a nice option that I don't see in other NLEs: the Dynamic RAM Preview. What it does is allowing you to put a certain amount of your timeline into your RAM memory, allowing you to preview it lag free. This option is best used when using heavy effects/transitions and is good to preview 5-10seconds of our timeline. To use it we need to set a certain amount of RAM into it (doing it in Options -> Preferences -> Video), usually 1/3 or 1/4 of your total RAM is fine and then we just have to select a small portion of our timeline and hit Shift+B (or going into Tools -> Build Dynamic RAM Preview). Be aware that as soon as we make changes on that portion of the timeline (let's say I changed my opacity from 80% to 60%), we need to rebuilt it again and the same happens if we change our Preview Window Quality. Also, keep in mind that having our Preview Quality in the better options and full resolution, will consume more RAM compared to lower quality options and lower resolutions, so this may allow you to preview only as much as 3 seconds, or as much as 3 minutes, it all depends on the amount of RAM available to it and the amount is using for the preview.
This method is similar to the previous one, although much slower. It pre-renders your selected timeline into your harddrive (instead of RAM), allowing you to preview it lag free. I would only recommend this one in the case we don't have enough RAM to preview what we want, because it is basically a mini-rendering option. Still, it's an alternative and to use it, we just select the portion of the timeline we want and press Shift+M (or going into Tools -> Selectively Prerender Video).
Other methods
I will only mention slightly some other methods, but I do not recommend doing them unless all previous steps didn't help. Turning off GPU acceleration can get rid of most lag or leaving it turned on while setting Dynamic RAM Preview to 0 (you will lose the Dynamic RAM Preview function by doing so), there's a relation between both since old Vegas versions. Also, not having a low amount of virtual memory (pagefile size) may help with certain crashes/errors - if you never changed it, you don't have to worry - this is intended to people who reduced it duo to having high amounts of physical RAM.
Hopefully this explanation helps somebody and we can reduce the amount of repeated topics. In case you got any question, feel free to ask.
submitted by Marviluck to VegasPro