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Originally Posted by mac black  Ok, surely there is a reason why all the top studios and producers end up mixing in protools, so are you guys saying that for the past decade and a half all the top producers engineers and artists have been wrong ? why would someone take the advice of non protools users over : Trevor Horn, Mutt Lange ... their engineers & most hit records since the 90's ? There are cheaper options and there should always be a choice but unless one has spent a few years with each software and mastered it, I don't think that one is in a position to judge whether PT is dead or not ...
You can make a hit record with a 4 track that's true, but if you'd like to thrive for excellence than look at what the most successful people in the business are doing and take that into consideration. |
They're not wrong, they just like what they like, or hire operators to do the dirty work ITB because they're old school engineers who think computers have their own set of flaws vs tape.
Now I want to preface the rest of my letter by explaining my position...
I measured these DAWS for a company I worked for in order to write code on our own proprietary recording software that came out last year. MyStudio (this is the company in question, and we were the only company to ever recieve an endorsment from the Grammys...that should tell you that I'm not some amatuer status tech)
Cubase and Nuendo which both use the same damn algorithm to convert signal are noticeably more "correct" in freq spectrum analysis to the SOURCES I tracked and measured with a spectral analyser.
Reaper, Logic and Ableton Live were somewhere in between both ends of the spectrum. But the low end in Pro Tools takes a hit during tracking. And again when you bounce tracks down.
It's not wrong to use it...but it is wrong to assume that there aren't any professionals who use other DAWS. My bosses at my old job were Larry Ryckman (co-founder of Interscope Records w/ Jimmy Iovine) and Shelly Yakus (One of the greatest engineers to have ever lived) All three of us listening back to samples had to agree that we needed to move closer to what Stienberg does sonically because it was closer to matching exactly to the oringal sources we tracked in harmonic content.