ghettosynth wrote: I think that Diva is pretty much necessary for anyone who wants the best ITB analogue sound available today.
You're refuting your own argument 'I don't buy that everyone NEEDS...'. Your subjective 'best ITB analogue sound' requires this product? That's fine. Yet, I'm interested in 'analog sound' in some way and I think I don't need this one product to do it. I have totally got 'fat Moog bass' in Absynth.
Cmon, you know that I'm aware of that. I'm being very specific. If the OP was being specific, my answer would be different. If you want the closest thing to analogue ITB today, you buy Diva, or perhaps Monark. This is a question about technology. Do you need those synths to get every analogue sound, no you don't. Do you need those synths if you want to do high res filter sweeps and not have a certain type of distortion, yep, you do. Ok, there are some other competitors now, I don't think that they sound of good, and yes, that is subjective.
I also have Absynth, in fact, I've recently discovered that I really like it for a lot of things, but in no way does it sound like Diva or Monark for the kinds of things that I'm talking about. It is interesting, but it is absolutely not "the best analog ITB sound today."
I am not at all suggesting that the plugins that come with your DAW are all as good as anything else, some are really good, some less so. I've often suggested that Komplete is a great way to round out your DAW and fill in some gaps.
This actually counters the argument 'you should be able to get all you need in the one host' and goes even further in support of buying things for a certain sound. Totally in agreement, I need things that aren't in Cubase 5 (and the first host was SX1 then SX2 and I found I should probably have better tools) for the best sound*.
I didn't argue that 'you should be able to get all you need in the one host', I argued that most hosts today come with enough tools to produce a "professional" recording. For specific needs, not everything comes with a DAW. That doesn't mean that one can't get "professional results" with what comes with a DAW. I thought that I spelled my opinion on that clearly. If the OP had asked more specific questions, then my answer would have been different.
Yet, I think there is discipline to be found in trying to make do with what you have before buying. I'm not taking one side of the issue to prove it.
Yep, and I think that it's probably a good idea to work with what you have long enough to formulate a few specific questions. Does Cubase 5 come with enough tools to create a professional recording, of course, can I get any sound imaginable from it at the best possible quality, absolutely not. The tools have many limitations.
(*: which may not agree with the OP's 'pro sound', or your great EDM records, so this has to be a wider topic just out of the lack of definition as to things 'pro' and 'good'.)
I think so, in fact, when anyone uses "pro sound" I roll my eyes a bit. That said, I view the bar as pretty low. Great EDM records, in this context, means successful ones and many of those were made with really rather primitive equipment.
Uncle E wrote:
ghettosynth wrote:Again, you're moving the bookends, the question was "professional", not "best sounding", people have made "professional" recordings with pre-RE reason.
I see, you and I are defining "professional" differently. You seem to be defining it as anything that has been offered for sale, which is the accurate definition. I was defining it as anything that's been on the Billboard 100 charts, which I think is closer to what the OP was asking for, even if those weren't the words they used. I would venture to guess that less than .001% (if any at all) of music ever on the Billboard 100 was mixed solely with pre-RE reason.
Cmon, you're putting the cart before the horse. A large number of demos that eventually became hot 100 hits were recorded on much much less. Of course they were then remade with the best tools because, well, someone's getting paid.
The OP is on KVR asking a generic question about recording, he's not working for anyone making top 100 hits and no amount of money spent on tools is likely to change that anytime soon. At some point, however, the question becomes about how much difference exists. I was considering stephen slate's console collection because, well, I like knobs and meters and I just got an ilok, I listened hard to the demos, that's a small ass difference. I was forcing myself to look away from the screen and just listen to see if I could tell when it was in and when it wasn't, I could hear it, and I liked the results, but in no way do I think that difference would make or break a record.
I think that Nick what's his name pointed this same thing out in the other thread re hardware vs software in the fairchild demo, the effect of high end plugins tends to be quite subtle. Whether or not the sum of all of those little differences matters is a question that only makes sense in context.