Quote:
Originally Posted by Tony Shepperd  It's funny, I think the biggest loser in all of this is DP. Why on earth would anyone go with DP now? |
In answer to your question - audio professionals. DP does some things better than L8. Graphic time stretch/compression, for one. DP has a built-in pitch correction graphic interface. These two features alone could define a DAW choice for a professional who needs to manipulate vocals.
No one DAW is perfect. They all excel at different things. But some are more perfect at marketing than others. PTLE is a perfect example of that. PTLE is the most incapable DAW money can buy, but people don't come up to me and say "Hey dude, I just bought the most incapable DAW money can buy," they say, "Hey dude, I've got ProTools now."
Granted, if DP wants to compete for the new user, it's going to have to do an upgrade and bundle some VI's and plugins. For the musician who already has a bunch of midi gear, and works with singers and real unstruments, I suspect DP would be a better choice.
I see DP as leaning more towards the PTHD side of things, and L8 leaning more towards the Garage Band side of things. I'll probably get L8 after the dust settles, but I suspect I'll use it more as a writing/production tool, and keep DP for pitch-correcting singers and doing mixes.
The beauty of these native systems, is, unlike PT, files are interchangeable via OMF or AAF. That's my big gripe with PT. PT can open OMF files, but they charge the PT user an extra $500 for that functionality - obviously trying to maintain their format monopoly. It's this kind of business practice that encourages the 'PT Killer' mentality.