2022 DAW Predictions

[fairlyclose]

so I tend to think that if you're doing music for museum installations, it's probably something a lot of us could do if we had the contacts to get the work.

lol, that's some wild hubris

[Autobot]

┐(￣ヘ￣)┌

[BONES]

That makes me interested in the discussion which, in case you haven't noticed, has gone well away from the original topic.

lol, that's some wild hubris

Not on my part. I never said I could do it, just that it doesn't seem like much of a challenge. I find it very difficult to do anything for mass consumption because I don't have any feeling at all for it. It's the same for me at work, I avoid doing any creative work like the plague because I have no idea what it is they want. I can do something that I think is the kind of gaudy krap they love but it invariably misses the mark by a mile because I honestly have no idea what it is in the work that they like about it, even after six years in this job and 25 years in the industry.

I think it's the same in any creative endeavour - if you have to second-guess your client's or your audience's taste, you'll never do good work. You have to find an audience that's in sync with you. For some people that's the easiest thing imaginable, while others can spend their whole lives trying to find it and never succeed. It's the former group I was thinking of in relation to my comment, whereas I definitely fall into the latter group (way down the end of it, in fact).

[machinesworking]

You're not rejecting Lady Gaga level stardom, you're just jealous.

I'm more envious, if anything, because you have to think that people like her love the music they make as much as I love what I do, yet they have the good fortune that what they love also sells well.

I'm not envious at all of her. I never wanted fame, it's obvious that's a big part of it for her and people like her. I know from personal experience that not everyone whose made it big is into what they do. They do it because they're good business people about it.

In general I'm not surprised that's your response though. People who think that fame or recognition are why you would do music or somehow that's the metric by which music is to be judged worthwhile, would be impressed with people who become famous.

In the end it's just luck of the draw - you can be amazingly good at what you do and never find a commercially viable audience for your work.

This completely contradicts your earlier nonsense in this thread. There has never been a correlation between creativity, luck, talent, hard work and ability to market yourself, you need all of these generally to get famous. Creativity you need the least of. In fact I'll go as far as to say creativity gets in the way of a musicians ability to market themselves.

The other thing for me is that I find writing songs really hard but the music part of it is usually pretty easy, so I tend to think that if you're doing music for museum installations, it's probably something a lot of us could do if we had the contacts to get the work. My bandmate has done a few collaborations with an artist that he says requires almost no effort compared to what we do for NOVAkILL, yet it is probably heard by more people and he gets paid for it. We'd love to get some score work but we have no idea how to break into that, beyond having scored a couple of short films for friends, which led nowhere. But for me, writing an album of consistently good songs is a real challenge, whereas doing music for film or TV or whatever would feel a lot more like rote work.

This is pretty much a pop songwriter cliche, any other form of structure musically is easy because it's not as popular as the pop format, or it sounds easy in your head. Right away you miss the biggest difference, in a commercial setting your time is limited. You score an actual 90 minute film, and if you don't deliver, it's a big deal. Famously Vangelis took forever to deliver on the Blade Runner soundtrack and Ridley Scott never worked with him again. It's a great soundtrack, but that's not how the industry works, you don't have months to come up with your latest epic part, you have 24 hours. Plus, your market is super small if all you want to do is sci fi and horror, TV and film requires and loves songwriters who can pull off all formats, not just angry EBM.


All of this is just annoying though. I think you know full well your intention from the offset here was to rile people up, and personally this isn't the place for it. I've had friends that sold platinum albums, some of them were at the point of flatly doing it for the money by the time they became famous. They were good businessmen and knew how to market themselves, the love of what they do is long gone. On the other hand some of the most talented creative musicians I've ever known are working at grocery stores now, to this day if I pick up a bass I almost always play the bass line from that bands song, just a beautiful piece, and it's worth is not at all diminished by it's lack of success.

Then there's this, most of us including you aren't doing this for a living, the ability to take the time you have after your day job and make that into another business, it's just not there, and not at all important for most people here I would guess. Couple that with the fact most of the bands I've really loved over the years were not that famous, and again that wasn't their intention either.

You do understand this, but you have this inability to not interject your own insecurities. Underneath of it all it's you that's upset at your own perceived lack of success, and projecting it on the rest of us. I'm pretty dammed sure 99% of the people who collect modular synths never release anything outside soundcloud, and have an absolutely great time making bloops and beeps in their living room, and it pisses you off they aren't insecure about that.

[pixel85]

New year, the same ol' Bones

[fairlyclose]

That makes me interested in the discussion which, in case you haven't noticed, has gone well away from the original topic.

lol, that's some wild hubris

Not on my part. I never said I could do it, just that it doesn't seem like much of a challenge.

Oh, so it is more ignorance than hubris. Fair enough. Work for museums and artist installation in galleries can vary quite a bit - from just supplying a suitably formatted field recording, to long composition involving extensive field work, recording, negotiating with various government bodies for access to sites for field recording, working with community, as well as the actual composition itself. Not trivial.

[nickfever]

Cloud Synchronization

I hope that all DAWs will leave the year 2000 and finally Cloud Synchronization will be implemented.

I really don't understand why this is not integrated for favorites and sounds, controller templates, etc..

To be honest, I actually expect this from a quite expensive software.

This would be super cool. I have a 2TB lifetime cloud storage account.

My guess is that it's difficult to do because of file/folder permissions and/or account authorization at the various hosting companies. I think this could open them up to potential virus/malware threats.

[Super Piano Hater 64]

A major software vendor will begin mining cryptocurrency on production computers. Users will not be permitted to turn this off, because it will be a required component of the actual product's copy protection scheme.

[BONES]

I never wanted fame, it's obvious that's a big part of it for her and people like her.

That's true and I am very much the same. My envy comes from the fact that what she likes, lots of other people also like. But it would be nice to be able to tour whenever we wanted to and know it wasn't going to cost us thousands of dollars each. Even the most successful bands in our genre struggle in that regard these days. A Wall of Voodoo or Modern English level of success would be fine by me.

That said, we have achieved more than I could ever have imagined when I first got up on stage in 1985. I got to a point where I was gigging every week and that was fantastic. I had thoughts of maybe releasing a single and, possibly, an album but to be here now with 7 albums under my belt and two overseas tours is not something I ever envisaged happening. Mind you, back then I fully expected to die in a ball of flame on the highway somewhere before I was 40, so the extra 23 years have helped.

I know from personal experience that not everyone whose made it big is into what they do. They do it because they're good business people about it.

Those people would be the exceptions, not the rule, and I doubt their level of success would be anything like the Lady Gagas of this world.

IThere has never been a correlation between creativity, luck, talent, hard work and ability to market yourself, you need all of these generally to get famous.

You don't need all those things yourself, which is why artists end up with managers and labels and booking agents and publicists and all the rest of it. Certainly most of our success is down to our label and management. If we were doing it all on our own, we'd probably still be agonising over which of our 80 or so songs to put on our first album. And how big would the Beatles have been without Brian Epstein?

Creativity you need the least of. In fact I'll go as far as to say creativity gets in the way of a musicians ability to market themselves.

Not if what you create has mass appeal. Look at Gary Numan, for example - Are "Friends" Electric? ignored al the rules of pop music success - it was really long, didn't have a chorus or any kind of hook, yet it somehow had mass appeal and was a huge hit. Cars was even bigger and it didn't have a chorus, either. Numan's creativity allowed his songs to transcend the rules and formulae of pop music, but it's a rare feat.

This is pretty much a pop songwriter cliche, any other form of structure musically is easy because it's not as popular as the pop format, or it sounds easy in your head.

The vast majority of music with lyrics is not pop music.

Famously Vangelis took forever to deliver on the Blade Runner soundtrack and Ridley Scott never worked with him again. It's a great soundtrack

Maybe you think so but that's a personal preference. Like most post-production, scoring is a high-pressure job that comes towards the end of the process, when all the money has been spent and all the deadlines are looming. You get used to it and you develop techniques to deal with it.

but that's not how the industry works, you don't have months to come up with your latest epic part, you have 24 hours.

Only if you wait until the last minute to start work. But if you put yourself into the loop for dailies and early WiP edits, you give yourself a lot more time, so all you are doing is refining it all in the final 24 hours. Dailies will give you a good indication of mood and pace to get your started. If you've new to it, the approvals process will do you in but if you keep on top of that, it's normally a lot more manageable.

Then there's this, most of us including you aren't doing this for a living, the ability to take the time you have after your day job and make that into another business, it's just not there

It's not there any more but there was a time you could make a living just performing. In the 1980s you could play every night to 100-200 people in Sydney, never release anything and make a living out of it. Of course, it could be a hard grind but it was definitely doable. These days it is much, much harder to earn a living from music, especially outside the mainstream. There are only a handful of artists in our genre doing it full-time and their lives are very tough. None of them would have anything like the standard of living I enjoy from my full-time job but they are almost stuck on a treadmill and just have to plough onward. They have to have a new album out every 12-18 months and they have to keep touring to put food on their plates. No rest, no holidays. It's a really tough life today and I really wouldn't want to be in their shoes.

that with the fact most of the bands I've really loved over the years were not that famous, and again that wasn't their intention either.

You want to argue about it but you are basically agreeing with me.

Underneath of it all it's you that's upset at your own perceived lack of success

I'm not you. As I've said, I am amazed at what we've achieved, it surpasses any expectation I ever had. My only real disappointment is how hard it it is to get gigs these days, but that's the times, not anything over which I have any influence.

I'm pretty dammed sure 99% of the people who collect modular synths never release anything outside soundcloud, and have an absolutely great time making bloops and beeps in their living room, and it pisses you off they aren't insecure about that.

Except they are. Horrendously so. You can't engage them at all. As you say, they collect modules the way other people collect Star Wars merchandise. It's about what they have, not what they use it for. Like people who are more interested in what new features might be coming out, instead of making best use of what they have in front of them to actually make some music.

[Guenon]

Famously Vangelis took forever to deliver on the Blade Runner soundtrack and Ridley Scott never worked with him again.

1492: Conquest of Paradise !

[tommyzai]

Serato Studio is growing. Sometimes, as well all know, audio software is released and soon after becomes abandonware. That's not the case with Studio. It's got such a unique layout and workflow, and with each update . . . it's mutating into a serious (but fun) DAW, It's no longer just an interesting add-on. It now has audio recording, which opens up a lot of possibilities. Yeah, Serato Studio is not a full-featured contender at this point, and it may never be . . . or want to be. But, it does help users create music fast . . . and it's fun. It has features that lead to tracks. Users are not wasting hours watching tutorials and reading manuals and cursing. I'm certain that some grooves and tunes could happen in Studio that would not have happened elsewhere. I plan to keep this workstation locked and loaded. The only question for me is . . . will it become my one and only? I'm rooting for Serato Studio and look forward to future updates.

I predict Serato Studio will grow into a one-of-a-kind beast!

[LivingParadox]

wow a person with 11,000+ posts got banned? No one's safe

[SamDi]

wow a person with 11,000+ posts got banned? No one's safe

Don't know what happened exactly. But seems this guy wanted deliberately to find a way to get out without any return ticket and posted some rassistic content, which is pretty efficient then, though still not nice..

Maybe he recognized that sending thousands of posts is kind of procastinating life...

But let's come back to topic, not that we will get banned too ...

[MrJubbly]

Famously Vangelis took forever to deliver on the Blade Runner soundtrack and Ridley Scott never worked with him again.

1492: Conquest of Paradise !

Lol! ... I guess machine is NOT working then?

[AnX]

wow a person with 11,000+ posts got banned? No one's safe

I'm sure they will be back under a diff name, maybe even something similar to yours....