Quote:
Originally Posted by jasonkalman
LDS,
thanks for your informative reply. For me anyway, it is important to learn what I can about what is going on behind the scenes that has crippled Avid from making Pro Tools the best software in the business. I truly believe it could be with the right people in charge. I am at a crossroads with whether to stay in the Avid ecosystem or get off it while the gear still has some value on the resale market.
I've often thought Avid should've purchased Waves and maybe even Universal Audio. But I'm not sure they could afford it. If they could pull it off financially, that would allow them to instantly dominate the audio software, hardware, plugin, home recording and Pro market. The negative to this would be less competition and steeper prices I imagine. Not to mention would they run these companies into the ground after acquiring them?
Thanks for the pictures also. From this I can infer that Avid is focusing their resources for the Pro market, which isn't a bad strategy since there aren't too many companies competing in this market. Reason is, the Pro market is shrinking by the day. The only saving grace is the audio arena that is producing music for TV and movies. I think that area is actually growing with all the content out there. Gone are the days of a few major broadcast networks making shows. Now you have Netflix, Amazon Prime, CBS and a whole growing host of online content service providers. This growing area will inevitably need pro audio for their shows, so perhaps Avid realizing this, is trying to tap into being the dominant player in that market. The sense I get is that most of the pros using Avid and making decent money are working TV shows and movies. Perhaps the home studio artist, like me needs to rethink which DAW and interface to stick with for the long haul.
Thanks again!
Jason
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My pleasure. I, too, think the amount of content being generated within the 'post' market is increasing. Streaming platforms, VR & 360 stuff, podcasts, on demand, immersive formats. The same also applies with live concerts & theatre. Some of the stuff D&B and other audio companies are doing with sound design and immersive platforms is incredible. It's an interesting contrast compared to sound for music production. Music has had the heck theorised out of it over the years, to the point where perhaps very few stones have been left unturned. Sound for picture on the other hand very much exists on the fringes, barely garnering a mention in film studies lectures, and when it gets mentioned it runs a distant second fiddle to the pictures. I suppose it's that kind of marginalisation that really brings freedom to experiment.
5.1 never really massively took off in music-only production. It fact, it went backwards to MP3. Meanwhile, film sound has moved to object orientated applications and people are now throwing another 4 channels of audio onto the ceiling in addition to the 8 channels that already. Post is a far more innovation rich part of the pro audio, I think. Check out, for example, D&B soundscape if you are bored. Exciting times. The stuff happening in music production like vintage compressor emulations, or vintage modelled microphones, or large touch screens seems pretty dull by comparison.
At the end of the day, I don't think anyone here wants to see Avid do poorly. Nor has the prospect of paying a lot for very little
really hasn't been lost on anyone. Some people have just reconciled their position a little quicker than others, probably by asking themselves the question of
what am I going to do about it? If you haven't tried rolling back PT versions and viciously testing plugins for stability issues, I would give that a spin. I am always impressed with Reaper when I fire it up too. Check it out if you get a chance. It might float your boat. Best of luck!