If what you have is working well, keep it. Pro Tools is a buzz word these days. I run into tons of people that have project studios advertising Pro Tools. Pro Tools LE and a Digi001 or 002 isn't worth buying in my opinion. If MIX, or HD system is in your budget and you can make a profit with it, then go for it.

If you do alot of remote recording and have the need to multitrack it. I personaly think one of those 24tk standalone machines would be much more useful than a PT's system. MX2424 or an equivelent.

I had a PT's rig out on tour for a few years back in the late 90's (Expensive, tons of I/O's etc....) they paid themselves off being on tour but took a hell of a beating. Now days its easier to slap in a MX2424 into a rack and be on your way.

I make my living on Protools...so I'll tell you that the biggest reason to buy Protools is comptibility. If you feel you would have to turn down work from producers/studios because you don't have PT, then look into it. Other than that look at some of the other really great DAW's out there. I believe you will want to develop your editing chops for the future.

Your right...work on your front end. Thats where your sound comes from.

I make my living on Protools...so I'll tell you that the biggest reason to buy Protools is comptibility. If you feel you would have to turn down work from producers/studios because you don't have PT, then look into it. Other than that look at some of the other really great DAW's out there. I believe you will want to develop your editing chops for the future.

Since all the leading comptetors can open OMFI files, and in some cases protools files, this is not longer as much an issue.

Numbskulls with name-branding on the brain however, are still a significant problem.

I have only begun to delve into audio related programs for the computer. Cooledit, logic, acid etc. I get good results in a short time with my current setup. It was suggested to me that a client may select another studio over mine, just because they have pro tools. If this is the case, perhaps I don't want a client who won't listen to common sense. In my current market of unsigned indy bands, they dont have the budget to track in studio a and mix in studio b. Even still, adat is still quite common, so what's the big deal?

As I understand it, compatability is not only an issue in attracting work from other studios, but in attracting signed bands and producers as well.
Once I have completed construction of my new location, the acoustics will be very desirable, until then I don't think I will be able to attract this type of work, so I think I should continue to sink money into gear that doesn't get old, and my rooms.
I will be working with another local studio and will receive some training in pro-tools at that time.
I will also be working in another studio yet, equipped with logic audio.
In both cases I will have lotz of play time to pick a favorite.

To me, in this business, the ends justify the means....do you agree?

Pro Tools is not a buzz word "these days." Please! It is the defacto standard. There are more in use than any other system.

I use a large HD system for remote/mobile recording. It has it's advantages. I can rent it out to other studios or producers who need the I/O, PRE's, etc. I can make more money with it than the dedicated recorders, because PT HD has more function. In addition, in my market, PT is in every studio, but not HD, so I get the additional rental for mix down. But, it is a huge pain in the but to lug around my heavy racks.

It really depends on your market, what people need you to do vs. how much they pay. ADAT's may be the only way that you can stay competitive, and in the cheap and dirty market, if they aren't paying for sonics, then give them the appropriate product and services.

Adats are old technology, and now you can buy a new XT for $500. Their days are numbered.

Since all the leading comptetors can open OMFI files, and in some cases protools files, this is not longer as much an issue.
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No, its still an issue. OMF doesn't cut it with being PT compatible. I just worked yesterday on a 64 track PT pop project for Disney with complex routing, and a bazillion edits. OMF won't cut it. But since I'm PT capable...I could take the job.

And in this situation (like many) the producer/engineers do NOT want to take the time/trouble to deal with exporting to OMF. They want things simple and streamlined.

Numbskulls with name-branding on the brain however, are still a significant problem.

I'll assume that "numbskulls" wasn't specifically directed at me. :D Hey, I said there are a number of great options out there if you don't need the compatibilty. "Numbskulls" or not tho, if they need to to have certain compatible gear to hire me and pay me lots of money...then so be it.

Originally posted by Steve@speedRiverStudios:

As I understand it, compatability is not only an issue in attracting work from other studios, but in attracting signed bands and producers as well.
Once I have completed construction of my new location, the acoustics will be very desirable, until then I don't think I will be able to attract this type of work, so I think I should continue to sink money into gear that doesn't get old, and my rooms.
I will be working with another local studio and will receive some training in pro-tools at that time.
I will also be working in another studio yet, equipped with logic audio.
In both cases I will have lotz of play time to pick a favorite.

To me, in this business, the ends justify the means....do you agree?

All very true. Great preamps and mics never go out of style so you can't go wrong there.

From a tracking and mix perspective, is a computer rig superior to other formats sonically? One question in my mind is what happens to a track once it has been manipulated with the audio engines of various programs
One thing that makes me nervous, especially with computers, is the never ending cycle of obsolescence. I see Protools as a system which has hit it's peak as a product, and if everyone decides to jump on a new boat, I could be left on the sinking ship, having made a subsantial investment.

Even more so, what about archiving? At some point in the near future I will be working with signed acts. This won't be through my studio, but I'm sure that I will attract the bigger money projects. What are The big guys looking for in this area? Tapes, cd-rom, hard drives?

I wonder if I could keep the adats, and use them for ad conversion? Maybe a competitive system that will translate files will be more economical to start with.

What do you guys think of e-magic? Will it import files easily? Are there better programs out there?

Your asking a lot of good, pertinent questions....but there is no "best" answer for most of these. A lot will be you discovering what works for you.

is a computer rig superior to other formats sonically?

I'll say this, the majority of your sound comes from mics, pres and converters. As for comparing digital summing and analog summing...that is a mouthful. I know this- analog summing does not automatically mean great and digital summing does not automatically mean cold and lifeless.

I see Protools as a system which has hit it's peak as a product, and if everyone decides to jump on a new boat, I could be left on the sinking ship, having made a subsantial investment.

Could happen to anyone when computer software is involved. This is a risk you take. Just ask Paris users or PC Logic users.

Even more so, what about archiving?

I see it all. But firewire drives are becoming really popular. Easy to transport.

I wonder if I could keep the adats, and use them for ad conversion?

Crappy, crappy A/D conversion. But yes you could do it.

What do you guys think of e-magic? Will it import files easily? Are there better programs out there?

Logic is great but it's strength is NOT working with audio. A complete headache for audio compared to Nuendo or PT.