I don't know pal. Maybe? Perhaps using certain DAWs for certain sonic vibes can be beneficial...Similar to the way that we choose different types of processors within the same platform...so is it to the point now where you choose the daw based on sound? vintage- harrison, bit crunch- pro tools, lean and clean- samp, audition, reaper........ now i have a tracking daw, mix daw, and mastering daw? what about different versions of the same program? does the mac version of digital performer sound like the windows version? the garage band app vs garage band desktop?
is it better, or not to keep the project in the same Daw as the client? what about for collabs?
The A+H Zed-R16 works really nicely as a control surface with Mixbus. Sixteen real faders controlling the Mixbus engine to produce the sort of old-school sounds that you describe is as sonically close to using an analogue console as I have managed to achieve with a DAW.If I had a 16 fader control surface to use with it, it would probably be the closest thing I could experience (for me) to working on an analog desk in a digital environment.
As an addendum - my opinion is that, regardless of the DAW one uses, one of the most important things we can do is to become really familiar with our platforms.
It's one of the most important things we can do; because the more familiar one is with their platform, the quicker they can get things done. The worst creativity killer in the world is having to stop that flow to spend time to figure out how to do something. When we are in that creative "zone", and ideas are hitting us fast, and things are really working for a song, it's an incredible drag to have to put that on hold, to have to step outside of that zone in order to find out how to do something. Maybe it's trying to figure out how to create a new Midi track, or maybe you've inadvertently put the recording process into loop or punchmode, or perhaps a VSTi on a certain track isn't responding to an external Midi controller... knowing your DAW helps you to create (or fix) things as they come up. And the quicker we can do those things, the less time we need to spend searching for the answers on how to do them... and the more time we can remain in the creative pocket.
I'm often asked by my consultation clients - mostly the younger ones - which DAW is "best". My reply is always the same - "it's about what is best for you".
What works for me, based on my experience level and the styles of music I produce, may not be the best DAW for you. Yeah, I love Samp, but it is a very deep program, and it does many great things... but if all you are doing is recording acoustic guitar and vocals, then it might be too much gun for what you are doing.
If you are working with primarily Midi based tracks, then maybe Mixbus isn't your best choice. The most important thing is how well you know your platform, and that it allows you to create; to support what you are doing... instead of fighting, puzzling, or frustrating you.
Thanks Chris, as I say in the video, I hope this is going to be the last video about the subject..I don't know if my ears are fooling me here but Samplitude mids sound better in some mixes. Very nicely done, nicely spoken and very interesting as well.
Anything more you didn't say in the video, Marco? For a long time we've talked about how we all thought simple processing changes the sonic integrity and I think you did a great job demonstrating this.
What I learned with this little quest of mine is that, if you import audio and do no changes then export, they will null perfectly.So, perhaps there are now more modern versions of DAW programs that would null out against each other...