Why do we have to pay Avid to stop being mediocre?

[tomhartman]

Originally Posted by Micks_Mix

This one is cool, I am pretty sure, that there will be plugins with exactly this sound... and they will have presets like "MySpace", "Satellite Car Radio" "Webradio in 2010" LOL

And a YouTube style pitch changer!

TH

[O.G. Killa]

Originally Posted by TheNoize

The only appeal of big studios today is the vintage rack gear they can offer - and even that, with better computer processing and better audio software, will become obsolete very soon. Most independent artists are now using very limited rack gear in their home studios, and their album production skills have improved ten fold in the last decade, because of easy access to DAW software and plugins.

Wow... sorry, I had to address this. If the only reason you go to a big studio is for the vintage gear, then you aren't really using the studio.

Maybe someday people will realize why sound engineers always prefer a "real" or "big" studio... I'll give you a hint, it has NOTHING to do with the gear. I'd take Capitol Studio A or Oceanway Studio B even if they only had radio shack mics, a Tascam console, and Behringer outboard gear all going into a original MBox.

It's the reason why so many people with Chandler, Manley, Prism, Apogee, Neumann, Sennheiser, Dynaudio, Genelec, etc in their home studios spend hours and hours with amp sims, virtual instruments and sound replacer, only to get something that still sounds like a demo.

[O.G. Killa]

Originally Posted by TheNoize

It's not. For 100 piece orchestral sessions, they use Digital Performer and Nuendo. Whoever told you they use Pro Tools is probably lying to you. I know because I've arranged, produced and composed scores for Walt Disney and Dreamworks.

Wow... Really?

Well first of all, Disney doesn't have a scoring stage. They only have dub stages and ADR stages... all of which use Protools, by the way. See for yourself....

http://studioservices.go.com/postpro...ages_main.html

Second, Dreamworks doesn't even have any post facilities.

So while you may have worked on films for them, you didn't actually record the score. If you had, you would have initially listed the stages where you recorded the scores for the films instead of the distribution companies that were paying for and marketing the films.

While composers do use Logic and Digital Performer quite often. Every single one I know and have worked with (and I know a lot) also owns protools and exports their VIs into Protools for audio recording AND for stem deliveries to the dubstage. Being an arranger/orchestrator, you don't usually get to see that piece of the puzzle.